Page 14 - Azərbaycan xalçaları

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sidered a derivative of the Four Seasons carpet based on its ele-
ments.
“Agajli” was named for its composition. Though the type of
this composition is widely spread in Central Asia and Caucasus,
“Agajli” of Tabriz is different and more peculiar. The central part
of this carpet consists of mainly one or more trees and bushes.
The trees have different appearance as per the taste of its creator.
Inclusion of delicate animal figures beatifying the heartwarming
nature motives informs about the graceful taste and fantasy of
carpet weavers.
Usually, the trees with spring mood are given in the position
of blossoming, but the trees with autumn mood are given with
fruit, either apples or pomegranates. Sometimes we can meet
the compositions with the stylized figures of cypress, willow
and other trees. These trees, which are the carriers of the main
content-subject of carpets in many cases, were included in the
composition as per the different symbols. The masters present-
ing the “Crying cypress” as a symbol of love, the oak as a symbol
of power, the pomegranate as a symbol of success, demonstrated
the possibility of presentation of nature motives in the Azerbai-
jani carpet weaving.
The sustainable presentation of this description in the Azer-
baijani carpet weaving up to present and enrichment of carpet
weaving in the terms of artistic feature unfoundedly informs
about the eternity of its following artistic-aesthetic load. Today,
an ancient “Agajli” carpet (beginning of 20th century) demon-
strated at State Museum of the Azerbaijani Carpet and National
Applied Art named after Latif Kerimov and a modern “Shabi-hi-
jran” (author – E. Mikayilzade) carpet woven on the basis of this
carpet covers the continuation and enrichment of ancient artistic
traditions in the creative activity.
Description of human figures in the Azerbaijani art, in particu-
lar in Tabriz group of arts based on the activity of palace library
gathering Tabriz masters in the Safavid period.
In artistic solution of ancient carpet specimens reaching mod-
ern period can be considered the creative effort of carpet weaving
and miniature having similarity with miniature-art. High-level
mastery in expression of the descriptions of different content in
the carpets justifies again that the well-known miniature-artists
of that times took part in creation of these carpets. The impact
of the success gained by the Azerbaijani artists in the 16th cen-
tury in the field of miniature art on other artistic craftsmanship
existing at that times was natural. Therefore, artistic traditions
of ancient miniature art becoming the language of the Azerbai-
jani art were expressed in carpet-weaving too. Besides above-
mentioned carpets with plot, we can state “Layla and Majnun”,
“Ferhad and Shirin”, “Khayyam”, “Dervish” belonging to Tabriz
group of carpets, also other specimens concerning the Eastern
and Azerbaijani folklore and literature. The works of art such
as “Omar Khayyam with his beloved” (19th century), “Sheikh
Sanan” (beginning of 20th century), “Dervish” carpets kept at
State Museum of the Azerbaijani Carpet and National Applied
Art named after Latif Kerimov, “Melik Mammed” (beginning
of 20th century) carpet demonstrated at National Azerbaijani lit-
erature museum named after Nizami Ganjavi, “Darvishlar” (19th
century) kept at Azerbaijan State Art Museum, “Rustam’s fight”
(beginning of 20th century) decorating the exposition of State Art
The impact on other arts of
the success gained by the
Azerbaijani artists in the 16th
century in the field of miniatures
was natural.
Carpet fragment. Wool, pile weave. 16th-17th
centuries. Tabriz Group. Azerbaijan.
Victoria and Albert Museum. London.
Carpet fragment. Wool, pile weave. 16th-17th centuries.
Tabriz Group. Azerbaijan.
Victoria and Albert Museum. London.