The oriental rug market bifurcates into two segments: decorative and collectable. The decorative segment, larger and more prevalent, caters to individuals seeking floor coverings for their homes. Trends fluctuate akin to fashion, with aesthetics driving the selection process. Despite the potential for exceptional pieces, buyers often prioritize appearance, color, or size. Conversely, the collectable segment, though smaller, brims with fervor. Collectors, driven by various motivations – regional, temporal, or ethnic – aim to procure rugs as art exhibits. Rug connoisseurs assess quality based on four criteria: origin, age, craftsmanship, and condition. Unlike other art forms, such as paintings, rugs offer a tactile experience. The allure of antique rugs lies in their accessibility. However, this very advantage engenders a stigma within the art community. The fact that rugs are trodden upon distances them from other plastic arts categories. There’s a prevailing notion that a rug loses its artistic value when used as a floor covering, even if it is worth more than the sculpture it supports. Another challenge rugs face as an art category is the anonymity of their creators. Yet, for rug enthusiasts, the absence of artist identification is part of the appeal. The cultural context of a rug’s creation, which significantly influences its style, colors, and collectability, serves as its identifier. Currently, the collector’s market covets “tribal” rugs. These rugs, woven by communities in the Caucasus and Central Asia, including northern Iran, Afghanistan, Turkmenistan, and western China, are renowned for their geometric, abstract motifs and vibrant colors.