The term kilim comes from Turkish and Eastern Persian. It means “covering”. Kilims are flat tapestry carpets woven by passing the weave through the warp; this is one of its uniqueness that determines its design. Geometric patterns are the most common: Diagonal lines mainly forming reversed diamonds and triangles that are spread across the design, by creating a border or following a pattern, some of them with symmetrical patterns covering the entire bottom of the carpet. As well as decorations, colours give an ideal touch to kilims: Maroon, blue, dark brown.
Rugs manufactured by women from the Berber tribes of the Upper Atlas region of Morocco, made from recycled textiles with wonderful colouring in which the female universe is embodied violently and smugly. These highly original rugs are aesthetically very powerful and whose shapes and colours are striking and daring.
The craftswomen do not follow any predefined guidelines or patterns when manufacturing these rugs, rather they improvise freehand without placing any limits on the creative spirit to achieve their goal.
Recycled materials used create a bond between primitive and modern art forms. A genuine canvas of modern abstract art, like a Kandinsky painting displayed without contrivances on the floor.
Until rather recently, these rugs were not traded due to the apparent scarcity of their materials, however, they have begun to appear in western markets as a result of their authenticity and aesthetic worth.
A good way of recognising new arrivals to a city is, if you are travelling alone, is a muted anger whereas if you are travelling in company, this takes the form of an open argument.
Distrust, doubts, the relative nature of what one takes as read at a few hours’ distance, undermine the bemused and weary traveller’s patience.
Perhaps it is in these moments when the journey reveals itself to the traveller.
For a long time I warned that there was no tourist who was not a traveller
Later on, after travelling for many years, I reached the conclusion that this dichotomy did not go beyond the mind of the person in question. How would a mursi distinguish this?
I fear that wherever one is travelling, the most likely thing is that most people do not manage, rightly so, to distinguish you from a bog-standard group of tourists.
Let’s live with this
The exotic dramatic quality of Arabic decoration is extraordinary. A means of escape from the industrialised western decoration so overly confused as to what it aims to aspire to in terms of luxury and the limitation of its resources to serialised, repetitive and angular constructions offering furnishings with laboratory materials resulting in simply pale imitations of the past.
Nature, colour, constructive sets, exquisite materials, engaging ambiences, etc. all of these attract us the decoration projected through magazines as samples of a new luxury concept.
However, is Arabic decoration truly Arabic? Contemporary Arabic culture does not offer, except on rare occasions, any of these aesthetic principles. Even its aspiration is to foolishly mock western standards adding a further over-top-touch, ostentatiousness and bad taste.
In truth that sample of an aesthetic universe based on traditional Arabic culture has been recreated by western foreigners (refined and well-to-do foreign with new horizons free from the inherent atavisms of the west).
Even the recovery of traditional trade, handicrafts and pieces form part of this trend. There is still room for many unanswered questions on philosophical, political, anthropological and religious grounds, although there is plenty of time for them to be asked. The idea has been thrust forward; Arabic decoration is in fact European decoration.
It is worthwhile underlining that this is no way conditions the enjoyment and delight we take from a truly fascinating decorative model that is destined to make us reconsider interior design in the west.
I have tried all types, A4 size, A5 size, pamphlet size, hardback or paperback, with plain or lined pages… After so many trips these notepads form part of my personal memoirs just like any iconic travelling legend (Marco Polo, Ibn Batuta…)
Therein we find the greatest distractions that the traveller’s mind conjures up during the abundant moments of calmness and reflexion as well as mundane entries such as daily expenses.
This restaurant located in the Rue d’Anglaterre is –in the opinion of the members of “The African Blog” – one of the best in Tangiers. Both the French cuisine as well as well as impressive levels of customer care and quality services are far removed from the stereotypes one normally finds in Morocco. Furthermore, its decoration, in keeping with the trend for more exclusive spaces in Morocco, manages to incorporate elements of darkest Africa with an industrial vintage motif, all meaning that La Fabrique is a standout restaurant in Tangiers.
The Sulimaniye is a grand mosque, which was built on the order of sultan Suleyman I (the magnificent) and was constructed by the great Ottoman architect Mimar Sinan. The construction work began in 1550 and the mosque was finished in 1557. It is considered to be a kind of architectural answer to the byzantine Hagia Sophia. That is more symmetrical, rationalized and light-filled interpretation of earlier Ottoman examples.
The Westwing sales club, devoted to furnishings and decorative complements for the home, offers exclusive sales of products manufactured by renowned Spanish and international brands with important discounts that can reach up to 70%.
Silvia Arenas is the Creative Director of the company in Spain and responsible for the marvellous selection of rugs, decorative accessories, furniture, complements etc. that they make available on a daily basis to style lovers.
The non-Arab cultures are inspired by nature; however Arabs in general are based on Turkish carpets due to theological ethics.
The carpet is the main furniture object for Arab cultures. They are highly important and some cities have even given their names to certain types of fabric such as muslin (Mosul), fustat (Cairo or Fustat).