The notion of a rug or carpet being quintessential—which is to say definitively indicative of the singular aesthetic of its maker— is certainly nothing new. In fact, it is quite time honored and traditional. Kerman, Kashan, Heriz, and Tabriz—to name but a few—are iconic and easily recognized examples of names that came to define aesthetics inherent to a specific place and indeed time. Then of course there are renowned makers such as Hadji Jalili whose work still inspires replicas, just as there are now innumerable Heriz, et alia, made in disparate lands and of varying quality. The quintessence of these latter versions being indicative of what they are, not what they purport to be.