azeri carpets

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About Carpets Azerbaijani carpets is one of the branch of the eastern carpet-making art .In November of 2010 it was included in the “Non-material Cultural Heritage” of the UNESCO. Unfortunately, often it is demonstrated in the world museums under the name of the Caucasian, Iranian, even Armenian carpets. Carpet-making history in Azerbaijan Herodotus, Claudius Elian, Xenofontus and other ancient historians of the world had informed about development of carper making in Azerbaijan. During Sasanids carpet art has developed even greater, and beautiful carpets were woven from silk, golden-silver threads. Albanian historian Musa Kalantarsky (VII century) had given information about carpets woven from silk cloths, and motley carpets. Carpet making from golden-silver threads and adorned with precious stones had taken a traditional character in XVI-XVII centuries. Such pileless carpets were mostly made in Tabriz, Shamakhy and Barda towns. As it cost expensive such carpets were made for feudal and called “zarbaf’. There is an interesting information in written sources of the Middle Ages about Azerbaijani carpet items and its art features. The unknown author had informed in work named “Hudud-al- alam’ ("Borders of the world”) concerned to X century about the rugs and carpets of Mughan, zili carpets of Nakhichevan, and silk carpets were praised in “Kitabi-Dada Gorgud’, pileless and piled carpets in works of Abul-Ula Ganjavi, Nizami, Khagani (XII century) Till early of XX century Azerbaijani carpet had an important position in the world market.

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Azeri Carpets

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Page 1: Azeri Carpets

About CarpetsAzerbaijani carpets is one of the branch of the eastern carpet-making art .In November of 2010 it was included in the “Non-material Cultural Heritage” of the UNESCO. Unfortunately, often it is demonstrated in the world museums under the name of the Caucasian, Iranian, even Armenian carpets.

Carpet-making history in AzerbaijanHerodotus, Claudius Elian, Xenofontus and other ancient historians of the world had informed about development of carper making in Azerbaijan. During Sasanids carpet art has developed even greater, and beautiful carpets were woven from silk, golden-silver threads. Albanian historian Musa Kalantarsky (VII century) had given information about carpets woven from silk cloths, and motley carpets. Carpet making from golden-silver threads and adorned with precious stones had taken a traditional character in XVI-XVII centuries. Such pileless carpets were mostly made in Tabriz, Shamakhy and Barda towns. As it cost expensive such carpets were made for feudal and called “zarbaf’. There is an interesting information in written sources of the Middle Ages about Azerbaijani carpet items and its art features. The unknown author had informed in work named “Hudud-al-alam’ ("Borders of the world”) concerned to X century about the rugs and carpets of Mughan, zili carpets of Nakhichevan, and silk carpets were praised in “Kitabi-Dada Gorgud’, pileless and piled carpets in works of Abul-Ula Ganjavi, Nizami, Khagani (XII century)Till early of XX century Azerbaijani carpet had an important position in the world market.

Page 2: Azeri Carpets

Development of carpet art in Azerbaijan comes to middle of XX century. One branch of development of carpet art was connected with "Azerkhalcha" Production Union. But its other branch was developed by professional painters. Carpets woven on base of new ornaments and patterns created by them, has assumed vital importance in enriching of the classic compositions. Azerbaijani carpets are divided in piled and pileless kinds due to technical features. Pileless carpets come to very early time of the weaving art. Pileless carpets are divided into 8 kinds for style of weaving, composition, ornamentrichness and colors: palas, jejim, ladi, kilim, shadda, varni, zili, sumakh. Presently wide opportunities were created in development of carpet making in Azerbaijan. Carpet-making is taught like an art and science field in Azerbaijan State Art School named after A.Azimzade and in Azerbaijan State University of Culture and Art, as well as in art teaching colleges.

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The influence of Azerbaijani carpets on world culture

During XIII - XIV centuries many carpets and carpet items were exported to foreign countries from Azerbaijan. These carpets drawing the attention with its tender ornaments, fine and graceful patterns were reflected in famous works, miniatures of Europe. In work of Dutch painters of XV century Hans Memlinq “Mariam with baby” "Shirvan" carpet, in work of Van Eik "Saint Mariam” “Zeyva carpet", in work of German painter Hans Holbeyn (XV century) “Ambassadors’ “Gazakh” carpet were reflected. In the second half of XVIII century carpet making had been considerably expanded during khanates time, and each khanate had own carpet-making workshop, which had created a ground of formation of different schools. Best samples of carpets and carpet items brought from Guba, Shamakhy, Ganja, Shaki, Gazakh, Javad provinces and other places had been awarded in 1872 in Moscow at "Moscow-Polytechnic” exhibition and in 19882 in “All Russian industry and art exhibition” with golden, silver medals. Major part of the exhibits demonstrated in international exhibitions organized in Vienna (Austria) in 1872, in Turin (Italy) in 1911, and in London and Berlin in 1913 has consisted of carpet items brought from Azerbaijan.

Azerbaijani carpet making schoolsAzerbaijani carpets are divided in 7 schools conditionally because of its geographical position,

patterns and composition, color solution and technical features like an art:1. Guba carpet-making school

2. Absheron carpet-making school3. Shirvan carpet-making school4. Ganja carpet-making school

5. Gazakh carpet-making school6. Garabagh carpet-making school

7. Tabriz carpet-making school8. Nakhchivan carpet-making school

Tabriz school

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Tabriz school can be divided into 2 semi groups: The following famous carpets have been included into Tabriz group: "Tabriz", "Qeris", "Lachakturunj", "Afshan", "Aghajal ", "Dordı fasil". But Ardabil group is famous with carpets "Ardabil", "Sheikh Safi", "Sarabi", "Shah Abbas ", "Mir". This group had reached highest development level and got art and technicalı features, which later by passing of time became known outside Azerbaijan, too.

Some examples from Tabriz carpet-making schoolCarpet "Ovchuluq"-Tabriz, 1522-1523, Museum of Poldi-Peccolis, Milan Carpet "Heyvani"-Tabriz, XVI century, Museum of Victoria and Albert, London Carpet "Heyvani"-Tabriz, middle of XVI century, Metropolitan art museum, New YorkPlotted carpet-Applied art museum, Budapest Carpet "Heyvani"-Tabriz, middle of XVI century, Museum of decorative art, Paris Carpet "Heyvani"-Tabriz, XVI century, Collection of Clarence Moski Carpet "Batlle of Rustam with Ashkavus"-Tabriz, early of XX century, State art museum of eastern carpets, Moscow.

Garabakh school

Garabagh carpet making school located in the south – west of Azerbaijan had been developed in two regions – upland and lowland zones. In upland zone carpet making Shusha city and Dashbulaq, Dovshanl , Girov, Trniviz, Chanaqchi, Tugh, Kohna Tughlar, Hadrut, Muradkhanl ,ı ı

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Qas mushagh , Qubadl , Qozagh, Mirseyid, Bagh rbeyli, Khanliq , Dagh Tumas villages play theı ı ı ı basic role. Compared to upland zone the lowland regions supplied better with raw – Jabrayil, Aghdam, Barda and Fizuli also occupy important place in carpet making. For its art system, technological features, solution of colors Zangazur and Nakhchivan carpet making schools are also included in Garabagh carpet making school. "Aran carpet", "Baghchadagullar carpet", "Bal q carpet", "Buynuz carpet", "Barda carpet", "Bahmanli carpet", "Garabagh carpet", "Qojaı carpet”, "Qas mushagh carpet", "Lambaran carpet", "Mughan carpet", "Tal sh carpet", "Lampaı ı ı carpet", "Mal beyli carpet", "Khanqarvand carpet", "Khanl q carpet", "Khantirma carpet",ı ı "Chalabi carpet ", "Shabal dbuta carpet", ı etc compositions are classic examples of Garabagh carpet making school.

Baku school

Baku carpet-making school combines in self Novkhani, Fatmai, Nardaran , Bulbula, Mardakan villages. They distinguish with softness of cloth, intensive colors, high painting taste and delicacy of performance. This school covers 10 compositions.

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Very often medallions can be found in the composition of the carpet. Baku school includes Khyzy region , which located outside the area and Qadi, Hil, Kesh, F nd ghan etc. carpet makingı ı centers. Majority of the carpets bear the names of the village, where it woven. "Khilabuta", "Khila-afshan", "Novkhan ", "Surakhan ", "Qala", "Bak ", "Goradil", "Fatmay ", "F nd ghan",ı ı ı ı ı ı "Qadi" etc carpets included here.

Ganja school

Ganja carpet-making school includes ganja city and its surrounding villages and territories of the Samukh, Gadabay, Shamkir regions. Ganja carpet making school had a positive influence on the carpet-making of the surrounding regions. Ganja carpet-making school includes compositions like "Ganja carpet", "Old Ganja carpet", "Golkend carpet", "Fakhral carpet", "Chaykend carpet",ı "Chayl carpet", "Shadyly carpet", "Chyraqly carpet", "Samukh carpet". The namaz prayingı

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carpet "Fakhraly" included in Ganja group distinguishes with its high art feature, kind of knitting from other carpet compositions.

Gazakh school

Gazakh carpet making school encompasses the region of Gazahh, as well as adjacent Azerbaijani-populated villages of Georgia such as Borchaly and, until the 1988, Goycha carpet making center in Armenia. Gazakh carpet making center includes Gazakh and its adjacent villages, Aghstafa and Tovuz regions. Goycha carpet making center covers villages of Bambak, Lambaly, Ijevan, Garagoyunlu and area around the Goycha (present Sevan lake) lake. Borcahly carpet making center includes villages of Borchkaly, Garayazy, Garachop and Gackaghan. Gazakh group includes carpets like , "Shykhly carpet", "Borchaly carpet", "Qaymaqly carpet", "Qaraqoyunlu carpet", "Garayazy carpet", "Garachop carpet", "Gachaghan carpet",

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"Daghkasaman carpet", "Demirchiler carpet", "Kamarli carpet", "Goychali carpet", "Salahlı carpet". Patterns of Ganja-Gazakh carpets had drawn an attention of European painters even in Middle Ages and it were reflected in works of Carlo Crivello, Italian painter of XV century, “News”, German painter Hans Holbein (XV century) “Ambassadors ”

Guba school

Guba carpet making center, located in the north-east of Azerbaijan is divided into three parts: upland, foothills and lowland. Upland part includes Gonaqkend, Buduq, Qyryz, Jek, Salmansoyud villages etc. Carpet manufacturing in foothill area is concentrated in Amirkhanl , Khalfalar, Shahnazarli,ı Pirabadil, Kh rdagul-Chich, S rt-chichi, Dara-chichi etc villages. And in lowland zone it isı ı concentrated in villages of Shabran lowland zone Chay Qaragashly, Haji Qaragashly, Susanli, Qaragashly, Devechi, Mollakamalli etc. This school includes carpets woven in Derdend area, too. The brightest compositions of the Guba carpets are " Qadim-Minara", "Q m l", "Alpan", "Qollu-ı ıchichi", "Pirabadil", "Haj qay b", "Qyryz", "Jek", etc.ı ı

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Nakhichevan school

Since times immemorial, Nakhchivan was among Azerbaijan's established artistic, commercial and cultural hubs, famous for its decorative and applied arts. Carpet weaving was among the leading artisan trade in the area.Places like Nakhchivan, Shahbuz, Ordubad and Julfa were the centers of piled and pileless carpet weaving for centuries, using both woof and silk for their production.As it was the case in Garabagh, Dast-Khaly-Gebe carpet sets were very popular here as well, with an overall area of coverage reaching 20-30 square meters. In the mean¬time, typical of Nakhchivan were long, narrow and striped carpets with geometric, vegetal and zoomorphic ornaments. The Dragon carpets from Nakhckivan (18-19 centuries) notable for their rich and versatile compositions, are nowadays found in Istanbul.Size of the Nakhchivani carpets varies from. 2 to 20 square meters. Some huge works up to 25-30 square meters in size are not uncommon either. Density of the Nakhchivani rugs ranges at

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30x30 to 40x40 knots per square decimeter (90-160 thou-sand knots in a square meter), while pile varies between 6-io millimeters.

Shirvan schoolShirvan carpet making school includes carpets woven in Shamakhy, Maraza, Aghsu, Kurdamir etc. This school consolidates 25 compositions. Salyan carpets having similar art and technical features, were also included in this school. Shirvan group includes carpets like "Maraza carpet", "Qobustan carpet", "Shirvan carpet", "Kurdamir carpet", "Shilyan carpet", "Shiralibey carprt", "Chukhanl carpet","Bijo carpet", "Sor-Sor carpet", "Haj qabul carpet" etc. compositions. ı ı German, English traders and ambassadors had informed about the art value of Shirvan carpets in VI-VIII centuries in their diaries. These carpets were reflected in works of European painters of XIV-XV centuries. Dutch painter Hans Memling (XV century) had reflected Shirvan carpet in his work “Mariam with baby”.

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Figurative carpets

The art of creation of thematic carpets in Azerbaijan has rich and ancient history. The earliest thematic carpets were produced in the southern part of Azerbaijan, in the city of Tabriz. Boom of their production is related in the 16th century, when the main artists, miniaturists and masters working in the various spheres of decorative art were concentrated in this city. This period also includes production of ornamental and thematic carpets, expensive silk, velvet and brocade fabrics, which used to be applied for depicting not only people, but also big scenes about feasts, hunting and war. Later on, these scenes were replaced with episodes from poems of Eastern classical authors, often accompanied with corresponding verses. Famous artists used to participate in the creation of thematic carpets; for example, Soltan Mohammed was the most outstanding miniaturist of the Tabriz school of the 16th century.Thematic carpets of that time were the most precious monuments of tangible and spiritual culture of the Azerbaijani people and serve as a real practical research material.According to traditions, carpets used to have couplets (bayt - ‘quatrains'), rubai from poetic works of Firdousi, Nizami, Khagani, Saadi, Khafiz, Navoi, Khayam and others; very often these poetic verses contained famous aphorisms and sayings. The citations were related to one specific theme (for example, a love theme), but from various sources, or from one source, but on various themes. In the latter case, the poetic lines containing

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the main idea were always emphasized with composite and decorative methods: they were included into the medallion ketebe and were placed in the central field under the main plot scene, while other medallions were placed in the central fringe.In accordance with the meaning of a poetic saying, the whole plot scene was interpreted and enriched with ornamental decorations, which simplified comprehension of the artistic design of the whole carpet. Alongside with the carpets that illustrated literary plots, weavers also produced carpets on religious themes.In Azerbaijan, carpets with traditional images, such as Dord fasil ("Four seasons") and Ovchulug ("Hunting") were made as well. The topic of these carpets remained the same, but the composition changed in accordance with taste and outlook of an artist.The central field of the carpet "Four seasons" is divided into 4 plot segments. The point of intersection of fragments has a medallion accompanied by a poem taken from classical eastern poetry with a composition illustrating it. All the other four compositions represent a genre picture of one of the seasons. These compositions had typical images of architectural constructions of Iran and Azerbaijan, such as Goy-Masjid in Tabriz, Mausoleum of Oldjaytu in Sultaniyye, ruins of Ktesiphon and Persepolis. The fringe parts of carpets contained both historical and mythological heroes, as well as the kings of Iran.The plot carpets made in Tabriz were notable for high artistic performance, as well as for good technical features - high density and low pile. As these carpets were made upon the commission of private people, the wool yarn, silk, silver and gold threads used in their production were usually of the best quality. The work was very labour-consuming and took a lot of time.The traditions of the 17th century were repeatedly applied in the subsequent periods of the development of the Azerbaijani plot carpet art. Some versions of the composition "Four seasons" belonging to the second quarter of the 19th century are now kept in the Nizami Museum of Azerbaijani Literature and in the R. Mustafaev Azerbaijan Museum of Arts in Baku.A comparatively small plot carpet on the topic of the poem of Fizuli "Leyli and Mejnun" illustrating the scene of meeting Leyli and Mejnun in a desert is also kept in the Nizami Museum. This carpet, belonging to 1810, is a wonderful example of plot carpets of the early 19th century.Since ancient times, weavers from the northern part of Azerbaijan, especially, Shirvan and Garabagh, have produced carpets illustrating images of animals, birds and people in the central field. These images, according to their styles had ancient origin and symbolical character; they were related to the events that had left traces in the lives of people.Since the second half of the 19th century carpets with independent plot scenes, such as Maral-jeyran ("Deer with doe"), Itli-pishikli ("Dogs with cats"), Atli-itli ("Horses with dogs") and others have been weaved in Garabagh.In the case of Atli-itli composition the central field of the carpet was divided into two equal parts. The upper part had an image of horse covered with a house cloth, with a bridle and a harness decorated with brushes. The horse was illustrated in movement and with raised hoofs. The lower part had a large image of a dog and sometimes a puppy with a collar. The head of the dog was usually represented from one side; it had big ears and back of black colour, while muzzle, breast and feet were white. Images of a horse and a dog were repeated along the horizontal line for three times. The carpet had a central fringe with a flower ornament.The carpet illustrating a hunting scene, weaved in Shirvan, gives an idea about decorative qualities of the specified carpets. In this example, squared and symbolic images of a cook, which was considered

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to be a harbinger of kindness, were placed along the corners of the central field.The skilled weaver reproduces every feather and richly embellishes the magnificent tail of the cock. The centre of the composition contains an image of a hunter on a horse. On the raised left hand, there is an image of a falcon repeated on the left side in mirror reflection. The landscape was weaved around the figures in a conditional manner. The detailed representation of the spruce horse cloth and harness is of particular interest; the skilled weaver skillfully highlighted every pattern up to the brushes.We should also mention carpets with the plots Yusif and Zuleykha, Rustam and Zokhrab, Uch padishah, testifying to the technical perfection and high level of the development of carpet weaving in Garabagh.Weavers have produced carpets with plot illustrations and of casual character, approximately, since the second half of the 19th century. In some carpets, alongside with realistically interpreted flowers, especially roses, we can also see images mechanically copied by weavers from various advertising-related pictures and labels of imported products, sometimes even scenes from the life of Christian saints, as well as images of paper money. At the time of development of close trade relationships with Russia, advertising drawings and Russian banknotes became popular in certain regions of carpet production, especially, in Shusha, an administrative and trade center of that time. It is natural that such "artistic" products were not further developed, as they were alien to the nature of the folk art.