Стр. 9 - Azərbaycan xalçaları

9
AZERBAIJANI CARPETS TABRIZ GROUP:
THROUGH HISTORY UNTIL NOW
Carpets belonging to the Tabriz group of Azerbaijani carpets are often evaluated as “letters
sent to the future” and draw attention for their affective meanings and contents, as well as their
astonishing artistic-technical characteristics. The formation of this powerful art developed on
the basis of centuries of traditions is unambiguous. The construction of fascinating buildings
that were the products of the imagination of Tabriz architectural masters and the works of
miniaturist artists stimulated the development of other arts, including carpet weaving. Consid-
ering the geographical conditions and raw materials necessary for the development of carpet
weaving, the creation of this art field in all of Azerbaijan, in Tabriz, and in nearby areas is natu-
ral and led to later artistic improvements. In addition to Tabriz, the carpet arts were widespread
in Ardabil, Maraga, Marand, Maku, Khoy, Urmia, Zenjan, Garaja, Heris, Sarab, Ahmadabad,
Mirish, Eher, Salmas, Goravan, Senne, Karadakh, and other residential areas.
The Tabriz group has developed with support of ancient artistic-technical traditions and has
proved its success. Although the most ancient samples have not reached present time, material
evidence exists in the samples created by other forms of decorative-applied arts proving that
carpet weaving and fields closely related to it were developing. As an example, the patterns on
ceramic samples discovered during archeological excavations at the Sialk mound near Kashan
and Goytepe residential settlement by Urmia Lake are characteristic of carpets and the pat-
terned saddle on the back of a clay horse figurine found close to the city of Maku in southern
Azerbaijan also shows similar characteristics. The patterned saddle covering on the back of the
lion on the famous golden bowl (8th century B.C.) discovered in Hasanlu lends credence to the
claims that carpet weaving existed in ancient Azerbaijan, including in Tabriz and surround-
ing destinations. Carpets held a special place among different goods imported to Europe even
when the Azerbaijan was part of the Sassanid Empire (3rd -7th centuries). In terms of significant
artistic-aesthetic successes of Azerbaijan’s carpet weaving art, the “Zimistani” (winter) rug that
decorated the Sassanid rulers’ palace in Madain must be mentioned. The “Four Seasons” com-
position reflecting the seasons of the year belonging to the Tabriz group lends credence to the
claim that the “Zimistani” carpet was also woven in Azerbaijan. During the Arab invasion
of the palace in 636, this rare art masterpiece was looted and divided among the conquerors.
Sources state that all the colors existing in the world were used on this rug and it was covered
with precious stones.
During the 6th – 7th centuries, Azerbaijan became a great center producing high quality car-
pets. A famous Chinese traveler, Xuan Tes-ank, who visited these lands in the seventh century,
mentioned in his memoires “Azerbaijan is the biggest center of carpet weaving.” The revival
of Azerbaijani cities and residential settlements in southern Azerbaijan’s territories in the 11th –
12 th centuries pushed the carpet weaving in these lands to enter a new stage. In addition, events
occurring during the 7th – 8th centuries in Azerbaijan negatively affected the development of
carpet weaving. Many times, especially after the Mongol invasion, carpets became a means of
slavery; therefore, artists were forced to consider not the quality, but the quantity of carpets.
It is impossible to imagine the interior designs of palaces and religious architectural construc-
tions built in Tabriz and its surroundings in the 13th – 16th centuries without carpets. For ex-
ample, carpets were found in the “Dovletkhana” architectural ensemble erected in Tabriz and
in the Ali Shah Mosque, the Goy (Blue) Mosque, and the Sheikh Safiaddin complex in Ardabil.
The fascinating artistic-technical level of the artistic traditions seen on Tabriz group carpets
in the 16th – 17th centuries was undoubtedly linked to the enrichment of the artistic-aesthetic
values as well as the new qualities continuously growing in the 11th – 15th centuries. One of the
reasons behind this growth was that Azerbaijani art began to be known in the world beginning
in the eighth century; not only was carpet weaving well known, but other creative arts such as
fine miniature art samples were seen as extremely beautiful. Tabriz carpet weaving traditions
coupled with the artistic features of miniaturist art resulted in an unusual charm and fineness
in new weaving samples. During that period, frequent participation of many miniaturist artists,
including Sultan Mahammad who had a lasting legacy on Azerbaijan’s descriptive art, stimu-
lated the creation of carpet compositions and enhanced the enrichment of Tabriz carpets with
unique artistic-aesthetic qualities.
The attention given to Azerbaijani art, carpet weaving, and miniaturist art during the 16th-17th
centuries and their development to a new level was associated with the establishment of the
Safavid government and its rulers Shah Ismayil Khatai I and his son Tahmasib, both of whom
loved art. This is confirmed by the fact that carpets, metalwork, ceramics, stone carving, fab-
ric, and embroidery samples covering different areas of decorative applied art and belonging