Another example of the ‘spontaneous style’ which characterises many of the weavings originating between Boujad and the Haouz (the plains north of Marrakech). Here the pattern is reminiscent of Neolithic cave paintings, which are found in scattered, isolated areas of Morocco. Paul Vandenbroek argues quite convincingly that these early pictorial representations are sedimented in the subconscious of Moroccan female weavers, and are employed within their abstract woven compositions (Vandenbroek 2000). The oval-shaped devices are arranged almost symmetrically inside a system of parallel lines, and are overlaid onto what appears as a directional substrate. There is indeed something undeniably significant behind the motifs we are seeing, the meaning of which might not have even been understood by the weaver herself.