A woman weaving a carpet in Kairouan in 1961 (Source: Touring Club Italiano, CC-BY-SA-4.0)
di Roberta Marin [*]
In addition to the natural beauty of the landscape and the archaeological remains of its glorious past, Tunisia is known for being the place where Kairouan, one of the holy cities of Islam, was founded and developed. The Great Mosque of Kairouan is among the best achievements of Islamic architecture of the early period and its prayer hall is the perfect case for the unique mihrab decorated with about 150 lustre tiles and the finely carved wooden minbar. A large number of carpets made in wool and woven with geometric and symbolic motifs covers the floor. These particular carpets belong to the so-called Kairouan group, since the city was and still is one of the main production centres.
Well before the arrival to the scene of Islamic dynasties, Tunisia was famous for weaving. There are literary evidences which testify that carpets and embroidered textiles were produced and sought after already in the 5th century BC. If we take into account more recent times, we will find that the Aghlabid emires used to pay part of their annual tribute to the Abbasid caliphs of Baghdad with carpets and tapestries (https://archive.aramcoworld.com/issue/196305/craftsman.of.tunisia.htm).
Carpet monument in Kairouan (Source: Dennis G. Jarvis, CC-BY-SA-2.0)
Unfortunately, there are no examples of those early carpets left and to get an idea of the history and decoration of Tunisian carpets, we must rely exclusively on more recent accounts, compiled by merchants and travellers, who have testified to the extensive use of textiles at the court of the sovereigns, in more modest houses and in the tents of Berber nomads. These accounts have greatly contributed to retrace the interesting history of Tunisian weaving and more specifically of Kairouan rugs. It is from the 19th century, in fat, that we can identify a typical Tunisian style in carpet production, easily recognisable due to the decorative and symbolic elements derived from local traditions.
Apart from contemporary accounts, there is also a popular belief that points to Kamla, the daughter of the governor of Kairouan during the Ottoman presence in Tunisia, as the one who introduced the Ghiordes knot – known also as the symmetrical or Turkish knot and famous to be the most-used knots in high pile carpets production in the Mediterranean area -, and the typical design of Anatolian rugs in Tunisia (https://bashircarpets.com/fr/pages/tunisian-rugs-carpets).
Given the variety of carpets produced by Tunisian weavers, the definition of Kairouan rugs needs to be explained. Kairouan was certainly the place where the larger number of carpet makers operated and where they specifically produced a type of rustic carpet in wool, decorated with a combination of geometric and stylised vegetal motifs. However, carpets woven in other Tunisian cities became known as Kairouan carpets, as they had the same characteristics as those produced in Kairouan, despite being made in artisan workshops located far from Kairouan. Along the decades, the so-called Kairouan rugs became increasingly differentiated, showing peculiar elements belonging to a specific region, religious belief and symbols. At the same time, also the palette of colours expanded with the introduction of brighter dyes, ranging from dark blue to bright green and more. There has also been a huge improvement in terms of knot density. Carpets were originally made with around 40,000 knots per square metre, while in more recent times they have reached the impressive number of 250,000 knots per square metre.
Prayer hall of the Great Mosque of Kairouan (Source: Alexander Hoernigk, CC-BY-SA-4.0)
Although the variety of carpets is rather broad, four groups are the most relevant and are known as Alloucha, Zarbia, Mergoum and Kilims. These rugs are all made from sheep’s wool, but on some occasions, the weavers also use cotton, and by taking inspiration from the Persian rugs, silk.
Alloucha and Zarbia are high pile rugs, the Mergoum are low pile rugs and the Kilims are flat tapestry-woven rugs. Alloucha and Zarbia take a longer period of time to make and for this reason they can be more expensive to buy (https://discover-kairouan.blogspot.com/2008/11/carpet-kairouan.html).
Alloucha
The famous Alloucha carpets are probably the most common hand-knotted rugs produced in Tunisia and certainly the ones which are the most connected with Kairouan up to the point that the city has often identified with them. The story goes that at the beginning of the last century, the introduction and misuse of artificial dyes altered the quality of Tunisian carpets. As a consequence, a family of carpet makers from Kairouan decided to stop this negative trend and returned to the natural colour palette of the sheep’s wool, ranging from white to grey and from brown to black. The field on the carpets is decorated with a central diamond-shaped pattern, whereas the wide borders present a series of stylised floral forms. Along the years, thanks to the creativity and skills of weavers involved in the carpets’ production, new patterns have been added to the large selection already in use.
Carpet shop in Kairouan (Source: Orientalist Wikimedia Common)
Zarbia
Other hand-knotted carpets are the so-called Zarbias, made using wool as well as silk. Rugs made with silk are more expensive, but they are certainly fascinating and recall the carpets made in Iran by the important Safavid dynasty (1501-1736). Unlike Alloucha, the dominant colours on Zarbias are red, green, and blue in all variations of intensity, while the decoration is inspired by traditional designs and motifs. In order to meet the demand of potential new buyers, the models have been renewed with the introduction of motifs that have expanded the repertoire, while maintaining a close connection to the Tunisian artistic heritage and Berber symbolism. (https://kairouan.org/fr/culture/tapiskairouan/tapis.htm).
Selection of carpets (Source: Shutterstock)
Mergoum
Mergoum rugs are made not only in Kairouan but also in Oudhref and El Jem. Carpet experts agree that this peculiar type of rugs originated in southern Tunisia, mainly in the regions of Tataouine, Medenine, Gabes, and Gafsa, making the city of Oudhref in Gabes the capital of Margoum carpets (https://kohantextilejournal.com/tunisian-margoum-tapestry-tradition-artistry/). Carpets belonging to this group are in some respects more closely linked to the textile tradition of the local Berber tribes, whose technique and ability to create new patterns have been passed down from generation to generation among the women, highlighting once again the important role played by women within tribal societies and demonstrating how learning the art of weaving in tribal contexts begins at a very young age. These low-pile rugs were used flat on the floor as much as hung on the walls, as a decorative element. They are produced using pure sheep’s wool, which have undergone a long process of washing to soften the fibres, for the weft and cotton for the warp. The combination of materials allows the woven structure to be more solid and quite strong and durable, but at the same time lightweight. Mergoum are woven following old weaving traditions. As a matter of fact, the bottom is woven as that of kilims, whereas the patterns are knotted inside out. This group of rugs therefore do not have high pile, but a rather smooth and unique appearance, which makes them ‘thinner than a knotted rug, but thicker than a kilim’ (https://chwaya.com/en/25-tunisian-rug). Setting apart from the heavier traditional carpets typical of Kairouan, they are woven in various sizes, making them suitable for all spaces in a household, and their predominant colours are red, blue and beige.
The most common pattern in Mergoum rugs is based on geometric shapes that resemble diamonds. This rhomboid shape can be repeated many times in order to form a compact series of small or medium-sized diamonds or be woven so as to create a single large diamond, which makes up the field of the carpet. (fig.5) In the Berber tradition, these elements are highly symbolic and not only merely decorative motifs. The diamond/rhombus are associated with protection from the evil eye and feminine power, whereas the triangles are often used to signify women, family, femininity and fertility. These symbols are often used on carpets, but also on jewellery intended for women.
Margoum rugs (Source: www.chwaya.com)
Kilim
The word Kilim is pronounced as klim in Tunisia and refers to a group of relatively small, unknotted rugs that are mainly used as decorative wall panels but also, although with less frequency, as floor coverings. Kilims are rather light, due to the absence of knots, and differ from the carpets belonging to other groups for the peculiarity of being double-sided. This type of rugs is made with colourful wool arranged in bands alternated with geometrical patterns that clearly shown Berber origins. Despite a common repertoire of symbols and shapes, kilims are unique pieces, inspired by the creativity and imagination of the weavers. Towns and villages of central and southern Tunisia, such as Gafsa, Sidi Bou Zid, Toujane, Djerba, are the primary locations where kilims are produced.
In order to preserve the authenticity of the carpets and the high level of quality, Tunisia has introduced a strict control system. Only the carpets that have met the rigorous tests will have the ’1st choice’ label affixed on the back by the National Office of Crafts, to which further information regarding texture, dimensions, design, and the date of manufacture of the carpet itself are added. This process guarantees the buyer the certainty of purchasing a carpet that has met all the high-quality standards and that is a product truly woven in Tunisia using the best wool. Furthermore, to celebrate the beauty and historical and anthropological importance of Tunisian carpets, the National Office of Handicrafts renewed in 1995 the Carpet Museum of Kairouan, which has welcomed visitors and carpet experts since then.
Carpet Museum of Kairouan (Source: Shoestring, CC-BY-SA-4.0,3.0,2.5,2.0,1.0)
Located in the south of the medina, the Museum houses over a hundred unique pieces in its rooms.
Some of them are particularly significant, such as the carpets that can be easily traced back to the time of Kamla, the aforementioned daughter of the Turkish governor of Kairouan, who had introduced the Ghiordes knot and Anatolian patterns to Tunisia. (https://cultpatr.blogspot.com/2015/08/musee-du-tapis-kairouan.html).
Carpets made in the first decades of the 20th century as well as more recent specimens produced nowadays complete the museum collection. Also on display are the typical copper tools and accessories used by carpet weavers along with maps and photographs that would illustrate the long tradition of carpet production in Tunisia (https://villa-romana-monastir.com/musee-du-tapis-kairouan/).
Authentic Tunisian carpets can undoubtedly be considered works of art not only for the high quality of the materials employed to produce them, but also for the elegant combination of colours chosen to create their distinctive and harmonious patterns. Most of the time, these carpets are decorated with motifs and symbols that come directly from the Berber and Islamic tradition, making those who own them fully aware of the different souls of Tunisia.
Dialoghi Mediterranei, n. 74, luglio 2025
[*] Abstract
Quando si pensa alla città di Kairouan, la prima cosa che salta alla mente è sicuramente la sua splendida moschea, la sala da preghiera, il raro mihrab riccamente decorato con piastrelle in ceramica a lustro e il minbar in legno. Kairouan tuttavia ha molto altro da offrire, come, ad esempio, una passeggiata tra i vicoli stretti della vecchia medina alla ricerca dei tappeti più belli, realizzati dalle sapienti mani delle tessitrici locali. La tradizione tessile a Kairouan e più in generale in Tunisia ha una lunga storia, che va ben oltre l’arrivo delle dinastie islamiche sul territorio. I cosiddetti tappeti di Kairouan rappresentano uno dei vertici dell’artigianato tunisino, insieme alla produzione ceramica e a quella della gioielleria. Al tappeto è stato dedicato un intero museo, in cui si può ammirare un’ampia collezione di tappeti tunisini risalenti agli anni tra il diciannovesimo e il ventunesimo secolo, mentre un tappeto di dimensioni monumentali accoglie il visitatore alle porte di Kairouan.
Sitografia
https://archive.aramcoworld.com/issue/196305/craftsman.of.tunisia.htm
https://www.bashircarpets.ca/en/tunisian-rugs
https://discover-kairouan.blogspot.com/2008/11/carpet-kairouan.html
https://kairouan.org/fr/culture/tapiskairouan/tapis.htm
https://kohantextilejournal.com/tunisian-margoum-tapestry-tradition-artistry/
https://chwaya.com/en/25-tunisian-rug)
https://cultpatr.blogspot.com/2015/08/musee-du-tapis-kairouan.html
https://villa-romana-monastir.com/musee-du-tapis-kairouan/
https://www.carpetjoe.com/carpet-types/region/berber/tunisian-carpets/__
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Roberta Marin, ha conseguito la laurea in Lettere Moderne con indirizzo storico-artistico all’Università di Trieste e ha completato il suo corso di studi con un Master in Arte Islamica e Archeologia presso la School of Oriental and African Studies (SOAS) dell’Università di Londra. Ha viaggiato a lungo nell’area mediterranea e il suo campo di interesse comprende l’arte e l’architettura mamelucca, la storia dei tappeti orientali e l’arte moderna e contemporanea del mondo arabo, iraniano e turco. Collabora con la Khalili Collection of Islamic Art e insegna arte e architettura islamica in istituzioni pubbliche e private nel Regno Unito e in Italia.
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