Page 37 - Azərbaycan xalçaları

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Azerbaijani carpets / TABRIZ GROUP
The artistic composition of the carpet consists of a middle area and a border. On the ivory
background middle field, various sizes of trees are depicted. The motifs described on the car-
pet are arranged symmetrically and asymmetrically. One of the most widespread patterns
in Azerbaijani decorative applied-art is the vegetal element. Patterns like these reached the
highest development level in the 15th-17th centuries. The most significant patterns among them
are trees and flowers. In Azerbaijan, the descriptions of trees belong to the Bronze Age and the
early Iron Age.
But the use of the tree motif started long before, when people began agricultural activities and the
hunter’s bow was replaced with the farmer’s mattock (pickaxe).
As the hunter’s way of life is full of activities and repeated systematic situations, the system of the
artistic characters had to be constructed under this principle. With the transition to ploughing, a new
approach was adopted in life, including in art. Since then, a plant, especially trees have become sym-
bols of the hope of constant abundance and anticipation of the crop.
On the carpet, the trunk and branches of trees are designed symmetrically from the main row and
the flowers and leaves on them are arranged as additional decorative patterns.
The spreading branches of the trees fill the gaps of the middle field and enrich it with flower and leaf
motifs.
The flowers of the trees are designed in blue, light brown, yellow, ivory, and dark red and the leaves are
light and dark green, brown-yellow, brown-green, yellow-green, and blue-brown.
In the different fields of Azerbaijani decorative applied-art, including carpets, in addition to vegetal
elements, zoomorphic and legendary characters from the ancient stories are depicted and make the
objects they describe more meaningful. One of the most widespread among them is the image of a bird.
Before, the depictions of birds were related to religious ceremonies and mythical ideas. But in the Middle
Ages, they were mainly about the popular tales, legends, and fables, in short, the folklore.
With the passing centuries, these elements turned into traditional decorative elements and became
abstract through stylization, sometimes completely beyond recognition.
On the center of the carpet on the left and right under the trees, herons are depicted. These birds are
found often in Europe, Asia, and some parts of Azerbaijan with a particular climate. Depictions of her-
ons are applied repeatedly in Azerbaijani decorative applied-art and also in carpet weaving.
The parrot, hoopoe, dove and lark depicted on the branches have a lively effect on the overall carpet.
The eagle described on the carpet also draws attention. The eagle symbolizes strength and power. It is one
of the most widespread birds in Azerbaijani folklore. Historical sources show that, in the past, among the
nationalities of Azerbaijan there were the tribes like “Qushchu” (Birder), “Qartal” (Eagle), and others. The
species of birds depicted on carpets are mainly those common to the territory of ancient Azerbaijan. The
carpets known as “Qushchu” are woven in Ganja, Gazakh, Barda, and Shamakhi. In those districts there
are still villages, hamlets, and areas called “Qushlar” (birds), “Qushchu,” and “Qushchu ayrim” (area of
birders).
According to the information from Mahmud Kashgarli, in old times each Turkish tribe had its own
bird totem. They accepted these totems as the creators of their tribes. Sources suggest that one of the
totem birds was the eagle. In “Turkmen Sheceresi,” each Oghuz tribe was given the name of a totem bird.
The totem of the Salur Tribe was the eagle.
In Azerbaijani decorative applied-art, the most common animals are tigers and wolves. In the carpet under
discussion, the lion holding fire in its mouth attracts considerable attention.
There are depictions of two monkeys on the right and left corners and one monkey on the tree branches on
the left and right of the middle field.
The main border of light and dark brown is adorned with flowery branches. The flowers are sur-
rounded with a floral wreath with three, four, five, six, and eight petals and ivory branches. The birds
depicted on the branches make the main border of the carpet livelier. The main border is decorated
with light brown, blue, and brown flowers and leaves. The narrow edges are encircled by light brown
and ivory madakhils with tiny leaves.
The light brown background minor borders are surrounded by light brown madakhils adorned with
tiny leaves.
The edges of the madakhils are decorated with blue, black, light brown, and ivory “su” (water). Tradi-
tional color arrangement is reflected on the carpet. In the ivory background middle field, the light colors
are used with great professionalism and the principles of these color groups is fulfilled.
The colors of the motifs in the middle field were coordinated with the colors of the border and its motif;
as a result, a special color harmony appeared.
The carpet is in excellent condition. It has an artistic, historic, and scientific importance. Its pile is woolen
and its wrap and weft are made of cotton.