Although the aesthetics of carpets differ from region to region, their thickness makes them more functional than unknotted carpets that do not have as good cold insulation or resistance to cold and footprints.
The criteria of originality and aesthetics are less important than that of functionality, and a carpet loses its value over time. In this sense, the anthropological definition is more appropriate: the value of art objects and artists comes from the power they have to make us see the world in an enchanted or magical way: a kind of otherness or even a parallel world.
This magic is the very concrete product of the technical and creative skills of the weavers of the Amazigh villages. Like any artist, they use their art to ensure the consent of individuals in the network of intentions in which they are immersed.
This interpretation of empowerment through art is shared by the weavers who, through their technical skills and weaving rituals, hope to get buyers to pay a good price for their products.
The literature on Moroccan Amazigh carpets tends to consider the temporal and geographical isolation of the producing societies and that of the weavers in the domestic sphere as a guarantee of the value of the carpets.
Amazigh weavers represent the archetype of the female artist who, because of her gender, is excluded from the public and commercial sphere, rarely recognized as an artist and paid less than a man.
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