Page 7 - Azərbaycan xalçaları

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Azerbaijani carpets / TABRIZ GROUP
Karbala. Wonderful carpets presented to the “Sheikh Sefi” mau-
soleum in Ardabil, a carpet presented to Imam Rza’s mausoleum
in Mashadi, and double-sided carpets and curtains are consid-
ered products of Shah Tahmasib’s activity. Furthermore, Shah
Tahmasib wrote a letter to Sultan Suleiman, a ruler of the Otto-
man Empire showing his intention to present a carpet to Sulei-
man Mosque, constructed by the architect Sinan, asking him to
send the dimensions of the mosque. After some time, he received
an answer and carpets were woven and sent to the mosque.
In the Safavid period, Ardabil was considered the second cen-
ter of art after Tabriz. The applied arts, particularly carpet weav-
ing, expanded widely. The French traveler, Taverne, confirmed
this development following his visit to the ancient city: “Ardabil
is not only famous for its ruler’s temples, this city is famous also
for its trade, silkworm breeding, and carpet weaving.” Though
carpet weaving expanded into many settlements in southern
Azerbaijan in addition to Tabriz, many specimens are related to
Ardabil. The carpets defined as belonging to the Tabriz group are
divided into two types depending on their artistic features, tech-
nical prowess, and composition: Tabriz and Ardabil. The Tabriz
group includes the following carpets: “Tabriz,” “Afshan,” “Dord
Fasil” (four seasons), “Bakhshayesh,” “Garaj,” “Gorevan,” “Her-
is,” “Ovchuluq,” “Agajli,” and “Lachakturunj.” The Ardabil
group includes the following types: “Ardabil,” “Sheikh Sefi,”
“Shahabbasi,” “Serabi,” “Zenjan,” “Mir,” and “Achma-yumma.”
In addition to pile carpets, flat-weave carpets with specific ar-
tistic and technical features were also woven as part of the Tabriz
group. Flat-weave carpets such as palas, kilim, verni, and zilli
were mostly found in the Tabriz group while jejim, verni, and
zilli were part of the Ardabil group.
The Tabriz carpet weaving school is modeled on these speci-
mens and a number of other patterns have similar compositions,
ornaments, and colors. The following carpet compositions exhib-
it a classic style: “Buta,” “Balig,” “Layla and Majnun,” “Bagh-e
Behesht,” “Bagh-sh,” “Dervish,” “Ketebeli,” “Gordest,” “Gollu-
gusheli,” “Guldanli,” “Meshahir,” “Mun,” “Namazlyk,” “Neja-
gli,” “Servistan,” “Serdari,” “Sahand,” “Silsilevi lechek,” “Fer-
had and Shirin,” “Khayyam,” “Khatai,” “Heddad,” “Charxi-
gul,” “Jeyranli,” and others.
Due to the great success and popularity of Tabriz carpets, art-
ists living and working in Europe included them in their own
Sang Gate. Khoy city.
Sheykh Safi’s tomb. Ardabil. 16th-17th centuries.
Sheykh Safi’s tomb. Ardabil. 16th-17th centuries.
History shows that several
carpets, as well as silk fabrics for
curtains were presented to Imam
Huseyn’s tomb in Karbala.