Page 5 - Azərbaycan xalçaları

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Taking into account the geographical conditions and raw ma-
terials available for the development of carpet weaving, Tabriz
group carpets can be considered to have contributed to the estab-
lishment and artistic development of this handicraft inAzerbaijan,
as well as in Tabriz and in the adjacent territories. In addition to
Tabriz, carpet weaving was widespread in residential settlements
such as Ardabil, Maraga, Merend, Maku, Khoy, Urmia, Zenjan,
Garaj, Heris, Serab, Ahmadabad, Miris, Aher, Salmas, Gorevan,
Senna, and Garadagh. Tabriz carpets developed relying on ancient
artistic and technical traditions. Though ancient specimens of Ta-
briz carpets are not available, there is evidence in other decora-
tive and applied arts confirming the type of development in carpet
weaving and similar fields. The ornaments on ceramics from the
archaeological excavations carried out at the Goytapa residential
settlement near Urmia Lake and Sialk Hill near Kazan are similar
to those found on carpets, as well as those found on a patterned
saddle on the back of horse statue near Maku in southern Azerbai-
jan. The famous golden basin found in Hasanli (8th century B.C.)
shows the back of a lion covered with a patterned saddle, proving
the existence of carpet weaving in ancient Azerbaijan, as well as
in Tabriz and nearby settlements. Although Arabs and Mongols
subsequently occupied Azerbaijan, artistic handicrafts including
carpet weaving continued to develop and carpets even held a spe-
cial place among the goods exported from Azerbaijan to Europe,
during the rule of the Sassanid State (3rd – 7th centuries).
Among the artistic and aesthetic success of Azerbaijani carpet
weaving, the “Zimistani” (winter) carpet decorating the palace of
the Sassanid in Madain must also be mentioned. The “Four Sea-
sons” composition woven on Tabriz carpets supports the fact that
the “Zimistani” carpet was woven in Azerbaijan. During the occu-
pation of the palace by Arabs in the year 636, this unique work of
art was seized as loot, divided into pieces, and distributed among
the conquerors. Some sources note, “a carpet showing all colors
existing around the world was covered with precious stones.”
During the sixth and seventh centuries, Azerbaijan became
a large center producing high quality carpets. In his memoir,
Khuan-Tesank, a Chinese traveler visiting Azerbaijan in the sev-
enth century, mentioned, “Azerbaijan is the largest center for car-
pet weaving.”
A renaissance in the residential settlements of Azerbaijan dur-
ing the 11th-12 th centuries led to the redevelopment of carpet weav-
ing in those locations. This renaissance occurred in Azerbaijan
during 7th -13th centuries, despite events that undesirably impacted
the development of carpet weaving. As carpets were often used
as barter to save the population from being taken prisoner during
the Mongol conquest, craftsmen increased the number of carpets
produced, but not necessarily their artistic value.
In the 12 th – 16th centuries, it was impossible to imagine the in-
terior decoration of palaces, religious and architectural buildings
in Tabriz and its adjoining cities without carpets. This situation
was particularly noteworthy in the “Dovlatkhana” (Government
House) constructed in Tabriz, and the Ali shah mosque, as well
as the Sheikh Safi-ad-din complex in Ardabil. During the 16th-17 th
centuries, a striking artistic and technical level of graphic tradi-
tion was achieved in Tabriz carpets, undoubtedly as a result of the
enrichment of artistic and aesthetic features with new qualities.
One of the reasons for this development was the recognition of
Sultan Mahammad. Sultan Sanjar and old woman
“Khamsa” by Nizami. 1539-1543.
The antiques kept in
Tabriz museum.