Written by David Castriota
Friday, 08 December 2006

One of the the more subjective aspects of judging a rug have to do with assessing its quality and its imperfections. When quality is assessed on the basis of the wool, dyes, and weaving technique, it is a fairly objective process. When the issue turns to drawing style, it becomes more of an issue of taste. The same is true with “imperfections”. Dropped knots, looseness or inconsistencies in tightness are technical imperfections. But are abrash – abrupt changes in color, sudden changes in design, or adjustments in proportion at the corners or the borders or ends of the field to be judged as imperfections, or as changes that are part of the deliberate intention of the weaver, and therefore part of her creative expression?

Some buyers may be put off by such qualities. They may prefer a workshop rug that is perfectly straight, with consistent color and design. But others will appreciate that the personality of the village weaver confronts us every time she inserts a willful twist and turn of color or pattern, or in her struggle to maintain straight proportions in a wool foundation, that that she is in a sense alive in the rug in all such variations or inconsistencies.