To begin with, Tribal Rugs: Treasures Of The Black Tent is by design a comprehensive reference work. Dealers and collectors will be well-served by Brian W. MacDonald's exhaustive survey of the carpets of Central Asia. But as one spends time hypnotically absorbed in the patterns of the incredibly intricate weavings presented in these pages, and learns a bit about the tribal cultures of the people who created them, one sees that Tribal Rugs is also a profound portrait of a highly evolved art form. An art form that is not pursued in order to create art. But rather unselfconciously, in a utilitarian way. Because the weaving is always done for practical purposes, to meet the needs of the family as it travels from region to region throughout the year. Which makes the infinite patience and unstinting devotion to aesthetic ideal with which the work is accomplished that much more remarkable. My thought about these rugs, about their visual and emotional impact, is that each depicts a rarefied landscape of uncompromising beauty. A landscape that intrinsically possesses meaning and maybe even sacred qualities (many weavings are in fact uniquely configured as prayer rugs). To study carefully these landscapes reveals a world of otherness that endlessly fascinates, captivates, and ultimately challenges thoroughly perceptual complacency with salubrious result.