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These women living in rural villages have appropriated their textile creations as a space of freedom where they have developed a personal creativity and a surprising artistic expression. The carpet becomes essential, it is a link between past and present, between earth and sky. These magnificent carpets could be presented in different art museums.
Traditionally, Amazigh rugs were made only by women to be used in their own homes, to decorate the floors and to serve as seat covers, bedspreads or blankets during the coldest months. The carpets are full of symbolism and often tell the story of the woman who created each piece. Each rug takes about 20-30 days to be woven by hand and the design is always completely original - no two rugs are ever the same.
If you compare the patterns of the Amazigh carpet to the signs of the rock arts and the artifacts of the primitive cultures of mankind, you will find the same signs and forms used and you will discover surprising similarities and links that you can also trace back to the Upper Paleolithic period in Europe and the Neolithic period in the East and in the Mediterranean basin, which explains why the Amazigh carpet can be considered as the last testimony of the archaic world.
The abstract and geometrical language of the Amazigh carpet comes from the origins of the body, form and functions of the human sexual organs. Based on the duality and relationship of man and woman, it became the expression of universal fertility including all nature.

The carpet is an artistic creation of the woman and reflects above all the phases of her life, her timeline and her sexual experience: as a virgin, a new bride, through marriage, pregnancy and childbirth. During the 12th and 13th centuries, Morocco was already known for the beauty of its Amazigh carpets, rugs and wall hangings.
the production of Amazigh art is diminishing, thanks to the new generation and modernization as a whole. Many of the female weavers hoped that the generations to come would somehow revive their practices of weaving.

The resources surrounding the Amazigh tribes of the High Atlas Mountains and surrounding areas had a tremendous influence in creating the textile art. Many wild animals including alpacas, camels and sheep were found in the area and their wool was taken by the tribes to weave the carpets with. Had they been in an area with swamp like terrain they may have made their carpets out of tweed or grass providing a more water resistant and sturdy finish. As well as this the flora that grew in the area provided many natural dyes for the weavers to make which is why the coloring of Amazigh rugs are very natural and earthy.

The climate of the area meant that there were very cold periods during the year which influenced the weavers to make large, thick, knotted weaves to help keep the family warm. In warmer areas of Morocco the carpets are made with a finer weave and have more attention to detail as they serve more of a decorative/symbolic purpose.

Amazigh rugs and the basis of its colors
The dyeing of the Amazigh carpet is an art in itself. And there are as many different ways to paint it in an eye-catching color as there are carpet manufacturers. However, the starting point is very similar whatever the method, you must first dye the yarn that will be used to weave the beautiful carpet.
Some methods can achieve one color in one day, while other colors can take up to four days. In the past,
a dye like indigo, for example, could last up to two weeks. What is beyond doubt is that dyeing with natural substances gives the yarn a natural sheen that is difficult to surpass. To obtain different colors, we use a number of substances with coloring power, from the plant and animal world.

Amazigh rugs and the basis of its colors

Certain Moroccan Amazigh tribes have long preferred certain colours, usually based on nature’s inspiration, age-old traditions, and the practical needs of tribal life. In the deep central Middle Atlas mountains, for example, the Zaiane tribes weave in red, from maroon to light blood red, reflecting the colours of the deep red soil. Further south we see yellows and lighter tangerines, the dyes that were easier to get hold of nearer to the coast, and echoing the lighter-hued, sun-filled environment. In decades past, colours would have been created from flowers, berries, leaves and henna
Over to the east of Morocco at the Saharan foothills, the Ait Bou Ichaouen peoples create rugs with a wide range of deep, bright and clear colours, as their sheep gave clean white wool able to take jewel-bright dyes. The Ait Bou Ichaouen weavers believed orange to represent gold and is included for that reason.
Other traditional dyes used years ago included ocher and madder for red; henna for orange and brown; saffron, turmeric and sumac for yellow; and tyrian (from sea snails) for purple.
Women chose their own colours carefully, usually those embedded in their tribal customs, to create beautiful hand woven works of art.

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Flatweaves and pile-knot refer to the way the women weave the rug on the warp. The warp is the foundation for every rug and consists of the strings (often white cotton) that run the length of a rug. With the warp set up, the weavers can begin to complete the rug with the weft. Rugs that are solely woven with the warp and weft are flatweave rugs (local dialect: hanbel).

However, not all rugs in Morocco are woven this way, nor is it the most common weaving technique. The most common technique is the pile knot, which has little similarity with flatweave. On a flatweave, and artisan threads the weft back and forth through the warp continuously until the rug is complete. On a pile knot however, the weft is separated with rows of knots tied around the warp.

Weaving techniques in Amazigh rugs.

These are done on a loom and the process takes 1-4 people depending on the size of the rug. On the loom, the yarn or weft is thrown through the middle of the bottom and top warp. The weaver then compacts the rug with the beater and the weft and warp are woven together. This alone is considered a flat weave.

A pile is the difference between a flat weave and a loomed rug. To make the pile, the weaver uses the same technique as discussed above but, instead of yarn, the weaver places a rod or pipe through the middle of the warp. This lifts the yarn and creates a pile. The weaver will use both techniques interchangeably throughout the rug. To finish, the loops created by the pipe are either left or cut to have a fuller finish.

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For centuries, Amazigh craftsmanship has been shaped by ancestral know-how and strong traditions that, from the countries of the Great Maghreb (Morocco, Algeria, Tunisia, Libya, Egypt) and although different from: shapes, colors specific meanings and labels are always inspired by history, the imprint of civilizations and the unique and exclusive Amazigh culture.

Pottery, fabrics, jewelry, carpets, furniture, paintings, tattoos, sculptures … each piece or painting has Amazigh motifs, signs that always have a precise and very rich meaning. In addition to the aesthetic and decorative aspect of objects from Amazigh craftsmanship, Amazigh representations, once the meaning of symbols is analyzed, we look at this Amazigh art otherwise.

Signs and motives have always had great symbolism for the indigenous people of North Africa. Most of these symbols stand out for a large part of the craft products, among which we find: weavings, pottery, jewelry, tattoos but also wall decorations that often adorn rammed houses in the heart of the douars.

Much more than a decorative or aesthetic dimension, the meaning of motifs in Amazigh craftsmanship stipulates, on the one hand, history, culture, traditions, rites, beliefs and superstitions, and, on the other hand, retraces the inspirations born of the acts of life.
So, if the zigzags, chevrons, rhombuses or triangles that have crossed the ages are now assimilated to simple geometric patterns, it is important to know that in fact, these patterns and signs demonstrate many other meanings.

The Amazigh symbols are very similar to those found on some rock paintings of prehistory, as are those of ancient pottery found mainly in the Maghreb. This is why Amazigh art is often compared to cave art with representations worthy of the first artefacts of ancient civilizations and cultures. In these ancient times and, just as today in the Maghreb, men live in close relationship with nature. They have always had a very close relationship with their environment. Nature is so and also a very inspiring source for artistic and material Amazigh creations.

The Amazigh signs and Amazigh motifs and, as you will understand, demonstrate a whole code of ethical values and social norms. Amazigh craftsmanship is a true art in its own right, born from primitive art, it has distinguished itself over the centuries and continues today. All symbols carry rich ideas, philosophies, life, death, work, and hope.