Стр. 11 - Azərbaycan xalçaları

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applied to human, animal, and bird images that were changed into beautiful pattern elements
on carpets. The philosophical views of artists influenced the symbolic elements on carpets repre-
senting the sun, light, the four elements, and other patterns. One of the widespread elements on
Tabriz group carpets is “islimi” (known as “arabesque’ in Europe). Islimi in the form of stylized
leaves are mainly used in the windings and ends of “pichek-helezun” (a spiral-shaped decorative
element with a circle in the center). However, they are also used independently. They have many
different shapes. Islimi that are not freely used in compositions have “simple,” “winged,” “forked,”
“braided,” “with buta,” and other forms.
“Khatai” is one of the elements that plays an important role in the artistic treatment of Tabriz
group carpets. It is believed that this element was sourced from “islimi,” but “khatai” has a more
complicated form. “Khatai” is oblong and looks like a wide leaf with its edges surrounded by cor-
rugated scallops. As a rule, “khatai” patterns are joined together and are applied to create complex
compositions in the middle field and borders. “Khatai” patterns are more stylized in accordance
with the general spirit of compositions. Like “islimi,” this element is not used independently in the
decoration of carpets.
The “spiral” motif is the most ancient of the elements employed in decorative-applied art. The
basis of this motif consists of the repetition of spiral forms. In fact, although the spiral is a form
often encountered in reality, artists working in decorative-applied art, including carpet weaving
incorporated them into compositions as carriers of literary-philosophical meaning.
As an ornament motif, the “gyol” (or “medallion” in Europe) plays a significant role among
Tabriz carpet patterns. Carpet weavers tried to make the medallions unique and rich because as
a rule, the medallion composed the central and attractive element of compositions. These carpets
are called “gyollu,” “khonchali,” and “turunjlu.” “Gyol” have oblong, round, square, rhombic,
and other shapes. Their internal fields are filled with floral, geometric patterns, animal, bird, and
sometimes, human images.
In its form, the “ketebe” is similar to an oblong-shaped gyol. It is included in compositions as
a major element of the middle field of the carpet, as related to the gyol and main element of the
wide border. Due to the closed shape, the writing engraved on this location appears central in the
composition of the carpet. Consisting of poem fragments and different writings, “ketebe” have be-
come ornamental decorations of carpets. Their enrichment with branches, buds, birds, and animal
depictions aims to strengthen the poetic-philosophical mood specific to Tabriz carpets.
The “gubba” element, also known by local artists as “heykalbashi” (top of the monument) or
“butbashi” (head of an idol) historically is used in relation to a gyol in compositions. Therefore,
the background of both elements were the same color. “Gubba” held a certain meaning during
later periods and developed into the shape of a bud or sometimes an independent decorative form
reminiscent of a “kasayarpagli’ flower. Generally, in accordance with the meaning and content of
the compositions, the settings of “gubba” were decorated with patterns composed of flowers or
sometimes with depictions of miniature animals.
“Bulud” (cloud) motifs were also used often in Tabriz group carpets. The emergence of this ele-
ment in Azerbaijani art is explained by Uygur-Chinese painting and the employment of Uygur art-
ists in the palaces of Azerbaijani rulers. Large cloud images decorating Chinese fabrics exemplified
a different appearance on Azerbaijani carpets: they were subject to certain stylizations in line with
local artistic traditions, obtained a philosophical side, and related to many other elements.
The “vag-bagi” element is widespread on Azerbaijani carpets, especially on Tabriz group carpets.
This could be considered an obvious manifestation of the creative attitude of local artists towards
the eye-catching artistic sources in neighboring countries. This element holds an exotic value and
was first used in Indian art in the decoration of carpets and fabrics. Following this stage, it was
brought to Azerbaijan and became an element of Tabriz carpets in a new interpretation. To judge
by appearance, the “vag-bagi” is a depiction of a stylized head image. The representation of hu-
man, bird, elephant, lion, dog, and goat heads on carpets is believed to be the display of “vag-bagi.”
The appearance of these elements near plant ornaments and flower settings was purposeful and
aimed at the enrichment of the general meaning and content of the synthesis of essentially differ-
ent elements.
As the widest stripe of the border, the “yelan” has an important place in the pattern design of
Tabriz group carpets. The attitude towards “yelan” located in the center of the border has been
different throughout time. It was originally employed as a carrier meaning subject to the compo-
sition’s major content and in most cases simply as a decorative element surrounding the central
field, lending it completeness through similar colors and shades. Although the second dominant
characteristic on Tabriz carpets, it is possible to observe that recently “yelan” have been applied by
modern artists without being repeated or having rational content. On the “yelan” of Tabriz carpets,
most often one encounters flower “khoncha,” cloud motifs, wavy branches covered with “uzeri”
flowers and leaves, small ketebe and spirals, and epigraphic ornaments. As an element, epigraphic
decorations are mostly employed on samples belonging to the Tabriz group of Azerbaijani carpet
weaving. These epigraphic decorations consisted of verses taken from the “Korani-Karim,” apho-
risms praising God, the prophet of Islam and rulers, lines from famous poets written in Arabic