 The term tribal or nomadic rugs immediately conjures up images of exotic Middle Eastern or Central Asian ethnography. In terms of design we tend to think of nomadic rugs as having a complex ornamental repertory of intricate geometric patterns, expressed in a palette of dark, deep colors. One group of rugs and carpets, however, challenges all such assumptions and pre-conceptions – the rugs produced by the nomadic Berber peoples of the Atlas Mountain region of Morocco.
In terms of geography Moroccan rugs can hardly be classed as Middle Eastern or Oriental. While the Berber tribes converted to Islam already in the seventh century, and while their tradition of pile rugs was inspired, initially at least, by Middle Eastern carpet production, one can hardly apply an Eastern or Oriental terminology to these carpets, which were woven well to the west of Paris. In terms of design and color as well, Moroccan carpets hardly fit the Oriental nomadic mould. In place of the deep, reserved coloration of Nomadic Asian rugs like Turkomans or Baluches, some Moroccan rugs have riotously bright colors, while others have a cool neutral palette that that would delight the most sophisticated contemporary designer. And in place of the finely detailed and highly organized geometric repetition of Central Asian nomadic rugs, Moroccan weavings display
enormus freedom and spontaneity of design, with a flair for bold graphic expressiveness, and, at times, an almost Modern sense of simplicity.
Antique Boujad Carpet #42306, seen above, adapts this sort of design by transforming the checkers into zig-zags, essentially prefiguring the visual effects 60’s "Op-Art” painting. Boujad #42304, seen here, takes an abstract pictorial approach. On this piece vaguely architectural elements are dispersed across a variegated soft red ground reminiscent of the desert at sunset, again recalling the effects of mid-twentieth century European abstract painting.
 Other nomadic Moroccan carpets, especially those of the Beni Ourain tribe, seem to combine a modernist taste for m inimalist linearity with the graphic symbolism of primitive art. A rug may be organized around the idea of a large linear diamond grid or lattice, although it is drawn with considerable freedom, with constant shifts in proportion. Within the some of diamonds are various linear symbols, perhaps tribal brands or markings, set against an abrashed tan ground meant to represent the desert sand. This splendid carpet has an atavistic aura, suggesting modes of expression reaching far back into the human past. In some ways it shares the qualities of the finest African Kente cloths or raffia pile weavings of the Congo. But at the same time, its bi-chrome palette has a stridently modern quality and appeal. Another Beni Ourain 42511, seen below, seems to be going for the same kind of effects, but in a much more free-form arrangement, with the various abstract elements or symbols strung loosely across the lovely tan surface.
 All these carpets remind us that the aesthetic of tribal peoples or so-called “primitive” modes of expression can often converge with modern taste and sensibilities. Any of these carpets would fit beautifully within a modernist decorative setting. They have just enough distinction an interest to pull a room together without dominating it. Their abstract linear geometry would complement a range of contemporary furniture designs. Those with neutral coloration would provide an excellent foil for more highly colored furnishings or paintings, just as the examples with vibrant color might complement the neutral coloration of metal or leather furniture and modern sculpture. From any point of view, the nomadic carpets of Morocco offer an enticing range of possibilities and potentials for modern interiors.
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