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One of the characteristic features of Sumakh
flat weave carpets is the stylized depiction of
animal and floral elements. Sumakh carpets are
very different according to their compositions
and patterns. Decorations here consist of fyl-
fot, living things (humans, animals, birds), and
geometrically stylized floral images.
This carpet is an “Ajdahali” (with dragon)
sumakh. The large elements with complicated
shapes and zigzagged edges depicted on su-
makh are dragon elements. Dragons reflect
mythical and legendary worlds. The dragon
zoomorphic image is considered as a water
god and as a symbolic and magical element of
water in the mythology of Turkic nations. This
tradition has been protected through centuries
and continues even now. In national art, drag-
on ornaments have double characteristics of
good and evil. This element often represented
dragon to the cattle breeding population, but
symbolized only water for the sedentary popu-
lation.
In addition to being related to one another,
these two notions were depicted in “s” and “z”
shapes. In ancient legends, dragons were rep-
resented as protectors of water. According to
tradition, a carpet with a dragon image on it
protected families from ill forces.
In addition to the dragon images, the carpet
is rich in filler elements. These include images
of living things such as humans, birds, animals,
stylized geometric elements, apples, horns,
hooked, or small elements.
Hooked, rhombic elements are depicted
along the main border of the sumakh, but ap-
ple elements create an eye-catching arrange-
ment along the small border.
This silk embroidery was woven based on the composition of
Karabakh’s “Gasimushagi” pile weave carpet. Karabakh car-
pets known as “Gasimushagi” reflect an additional type of “Ajda-
hali” carpet.
There are extremely stylized and geometric elements on this silk
embroidery; they are reminiscent of ribbons and dragons in form.
These elements more commonly have geometric characteristics. If
carefully examined, the signs of dragons and specific signs consist-
ing of hooked tips of elements are seen.
The four ribbons or dragons are arranged in a circle on the mid-
dle field, as if they are protecting the red multi-angular medallion
depicted in the middle. Stylized animal, horn, and floral elements
are depicted on the medallion. The horn elements are depicted in
the form of the “four elements” pattern in the center of the medal-
lion. The dragons appear to be protecting the universe by circling
around it. This element symbolizes reviving life, goodwill, and
happiness in this world.
In addition to the dragon element, four small “khoncha” (tray)
are represented on the embroidery. As filler elements, traditional
elements belonging to this composition such as “ketebe” (inscrip-
tion), trees, “teberzin,” stamps, stars, horns, and hooked elements
are also depicted.
By protecting its traditional pattern, the dragon is designed in a
new style on this embroidery.
Borders are also depicted on the embroidery. Ketebe and star ele-
ments are employed as border decorations.
Sumakh. “Ajdahali.” 304x188. Early 19th
century. Guba group. Azerbaijan. Metropoli-
tan Museum of Art. New York, USA.
Embroidery. Silk. Late 17th century – Early 18th century.
Karabakh. Azerbaijan. Textile Museum. Washington, DC.