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“’atomism’ .... is the notion that all things, living or not, are made up of combinations of exactly identical atoms. The composition of atoms into “things” it is argued, is a divine prerogative, but artists or artisans, who must not compete with God, are allowed to organize these atoms in any arbitrary way they wish. Thus the free and imaginative variations of Islamic ornament or unusual combinations of motifs were seen as reflections of a philosophical doctrine on the nature of reality.”

p 46 Islam A&A:

section 5

Anomalies in kilims

One of the questions we always posed to rug sellers was: how do mistakes arise in a kilim?

You can find many examples where the pattern has been broken in such a deliberate way that it cannot be a mistake. “Only their maker knows this”, was the common reply.

One seller in Meknes however, believed that the weavers, devout muslim women, would not be so arrogant as to even attempt a “perfect kilim” since such perfection belonged only to Allah. Consequently, they would deliberately break the kilim’s patterning as a mark of their humility.

This idea has some resonance with us: it suggests the kind of devotional and contemplative energy which can underlie a kilims’ manufacture and design; it explains why mistakes occur and helps to describe the attitude of the Moroccan weaver to the patterns and symetries she handles with such spontaneity.

some examples of anomalies

We can detect many different types of anomaly - some of these may even be the real thing - mistakes! But many appear quite deliberate breaks in a pattern or convention.

bmg pic 0114

The central field and the border seem to be competing in places for the upper hand in this Beni M'Gild rug (ref 0114). This kind of looseness or freedom in execution of the design, may represent one type of anomaly. It makes the viewers' eye and brain work. It is almost a device to suggest that the real design does extend beyond the convention of the border. The rug might be likened to a sketch or a study - but in this case the masterpeice is never attempted nor is it attainable in this life. The design inspired in this weaver is a hint of the inconceiveable beauty of the next world and she makes no attempt to constrain the pattern or make the rug appear too self-contained or self-sufficient.

(ref 0118) The border in this Beni M'Gild kilim is again where the weavers work becomes irregular, ambiguous. The rug is composed of three areas which are separated by thin bands as can be seen. There has been no attempt to bring the pattern to a timely conclusion at the boundary between two areas. Instead, the impression is created that the pattern continues - what we are seeing is just a snatch of the larger, more beautiful jewelled field which the weaver has glimpsed.

0086/za anomaly

This fine Zaiane hanbel has an anomaly at its very centre (rug reference 0086). This piece has been very carefully constructed and the design rules followed with only one exception: the colouring and the number of design elements in the central diamond. This type of anomaly is not usually noticed by the eye; it is not a feature of the work as it is in the Beni M'Gild rug discussed above. It is a relatively small and deliberate sign that the work is an imperfect rendering. It might be the type of anomaly which could be used in a commissioned work where the weaver is anxious of being criticised (or worse) for a mistake.

anomaly 0206

In this Ait Ouaouzguite rug (0206)the pattern from one field has been allowed to wander into its neighbour. It is a much more noticeable defect in the kilim's design than that above. It is difficult to believe that this might be a mistake on the part of the weaver.

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section 1: Introduction

section 2: African or Oriental?

section 3: Our personal view

section 4: Anomalies in kilims

section 5: Islamic notions of good and evil

section 6: The American market