Сarpet weaving

Qonaqkənd xalçası
Guest carpet

Azerbaijani folk art and carpet weaving, one of its branches, have a special place in the history of the national culture of the people.

The most widespread type of folk art is carpet art, which has taken a firm place in the life of the Azerbaijani people and has almost become a symbol of the people. Pile and non-pile carpets decorated with various pattern elements and images are used in the wall decoration and flooring of houses, tents, huts, as well as residential houses and other buildings, and are of high aesthetic importance.

According to archeological materials and written sources, carpet weaving has been practiced in Azerbaijan since the Bronze Age (late 2nd millennium BC – early 1st millennium BC). A picture of a sack made of clay on a clay horse (second millennium BC) found in Maku, South Azerbaijan and other findings show how ancient the art of carpet weaving is in Azerbaijan. During archeological excavations, ruins of carpets and carpets were found in catacomb graves of I-III centuries in Mingachevir.

Güllü-çiçi xalçası. XIX əsr
Flower carpet. XIX century

Herodotus, Claudius Elian, Xenophon and other ancient world historians reported on the development of carpet weaving in Azerbaijan. During the Sassanids (III-VII centuries) the art of carpet weaving was further developed in Azerbaijan, delicate carpets were woven from silk, gold and silver threads. Albanian historian Musa Kalankatli (7th century) gives information about silk fabrics and colorful carpets woven in Azerbaijan. The production of carpets woven with gold and silver threads and decorated with jewels became traditional in the XVI-XVII centuries. In the Middle Ages, the main centers of production of pileless carpets woven from gold and silver threads were the cities of Tabriz, Shamakhi and Barda. Such carpets, woven mainly for feudal lords because of their high cost, were called “zarbaf”. Anthony Jenkinson, an English traveler who visited Azerbaijan in the 16th century, tells about a carpet woven with gold and silver threads at Abdullah Khan’s summer residence in Shamakhi. The seventeenth-century Dutch traveler Ian Streits reports that the saddle on the horse of the ruler of Shamakhi was woven with gold thread and adorned with pearls and precious stones.

Interesting information about Azerbaijani carpet products and their artistic features can be found in medieval written sources. In the 10th century “Hudud al-alam” (“Borders of the World”), an unknown author gives information about the palas and chuls woven in Mugan, the bell-woven carpets of Nakhchivan, the silk carpets of Azerbaijan in the “Kitabi-Dada-Gorgud” epic (XII century) piles with and without piles are glorified in his works.

Xovlu xalça "Qobustan", XIX əsr Şirvan
Pile carpet “Gobustan”, XIX century Shirvan

In the XIII-XIV centuries, many carpets and carpet products were exported from Azerbaijan to foreign countries. These carpets, which attract attention with their delicate ornaments, elegant and delicate patterns, are reflected in the works and miniatures of famous European artists. 15th century Dutch artists Hans Memling’s painting “Mary with her baby” depicts the “Shirvan” carpet, Van Eyck’s “Holy Mary” – “Zeyva carpet”, German artist Hans Holbein’s (15th century) “Ambassadors” – “Gazakh” carpet.

In the second half of the 18th century, northern Azerbaijan began to be divided into small feudal khanates – Sheki, Baku, Guba, Karabakh, Yerevan, Ganja, Nakhchivan, and Shirvan. During the khanates, carpet production expanded significantly, and each khanate had its own carpet-weaving quarry. The development of the art of carpet weaving during the khanates laid the foundation for the future name of carpet weaving schools.

The best carpets and carpet products from Baku, Guba, Shamakhi, Ganja, Sheki, Gazakh, Javad districts and other places, exhibited at the Moscow-Polytechnic exhibition in Moscow in 1872 and at the All-Russian Industrial and Art Exhibition in 1882. samples were awarded gold and silver medals. The main part of the exhibits displayed at the International Exhibitions in Vienna (Austria) in 1872, Turin (Italy) in 1911, London and Berlin in 1913 consisted of carpets and carpet products imported from Azerbaijan.

Xovlu xalça, "Şıxlı", XIX əsr, Qazax
Pile carpet, “Shikhli”, XIX century, Gazakh

Types of pileless carpets. Azerbaijani carpets are piled and non-piled due to their technical characteristics. Pileless carpets date back to the earliest period of the art of weaving. Azerbaijani carpet art is distinguished by its high artistic and technical quality, the variety of pile weaving. All examples of pileless carpets are presented here, and in the carpet art of other countries these samples are represented in small quantities. Based on this, the German art critic G.Rop proves in the “Caucasian carpets” section of the book “Oriental Carpet” that the carpets here were formed earlier than the Asian carpets, and the pileless carpets are the best in the Caucasus. The basis of the creation of pileless carpets, and carpet art in general, is their first simple examples, straw, hemp, and buriya. Pileless carpets are divided into 8 types that differ from each other in their weaving method, compositional structure, richness of ornament and color.
– Palas – Cecim – Lady – Kilim – Shadda – Varni – Zili – Sumakh

Azerbaijan carpet weaving schools. Azerbaijani carpets as a field of art are conventionally divided into 7 carpet-weaving schools both by their geographical position and by their pattern, composition, color scheme and technical features:
1. Quba
2. Baku or Absheron
3. Shirvan
4. Ganja
5. Qazax
6. Karabakh
7. Tabriz

1. The Guba carpet center located in the north-east of Azerbaijan is divided into three parts – mountainous, foothill and lowland. The mountainous part includes settlements centered in the villages of Gonagkend, Khashi, Jimi, Afurja, Yerfi, Budug, Gyriz, Jek, Salmasoyud.

Carpet production in the foothills – Amirkhanli, Alikhanli, Khalfalar, Piramsan, Bilici, Shahnazarli, Pirabadil, Zeyva, Zohrami, Sumagobag, Khirdagul-chichi, Sirt-chichi, Dere-chichi villages, and in the lowland part in Shabran lowland zone, Gara Garagashli, Haji Garagashli, Susanli, Garagashli, Devechi, Mollakamalli and others. concentrated in the villages. This school also includes carpets woven in the territory of Derbent.

Xovlu xalça, "Sırtçiçi", XIX əsr, Quba
Pile carpet, “Sirtchichi”, XIX century, Guba

The decoration of Guba carpets is stylized flora of ornaments consisting of geometric patterns, and sometimes animal motifs. The style of medallions is also widespread on the carpets of this school. The brightest compositions of Guba carpets are “Ancient Minaret”, “Gimil”, “Alpan”, “Gollu-chichi”, “Pirabadil”, “Hajigayib”, “Giriz”, “Jack” and others.

"Şahnəzərli", XIX əsr, Quba
“Shahnazarli”, XIX century, Guba

2. Baku school covers the villages of Absheron – Goredil Novkhani, Nardaran, Bulbula, Fatmayi, Mardakan, Gala, Khila and other villages, as well as Khizi region outside Absheron and its included Gadi, Hil, Kesh, Findigan and others. covers carpet points. Baku carpets are distinguished by their softerness, intensity of colors, originality of artistic elements and subtlety of patterns. Geometric lakes and curved floral elements dominate in the decorations of the carpets. In the color scheme of carpets belonging to the Baku group, mainly dark blue, and rarely red and yellow colors are used for the middle ground. Most of these carpets are named after the village where they were woven. The Baku group includes “Khilabuta”, “Khila-afshan”, “Novkhani”, “Surakhani”, “Gala”, “Baku”, “Goredil”, “Fatmayi”, “Findigan”, “Gadi” and others. seasonings included.

Xovsuz xalça, XIX əsr, Bakı
Pileless carpet, XIX century, Baku

3. Shirvan carpet-weaving school covers Shamakhi, Maraza, Agsu, Kurdamir, Gazimammad (Hajigabul), Goychay and their surrounding villages. Shirvan group includes “Maraza”, “Gobustan”, “Shirvan”, “Kurdamir”, “Shilyan”, “Shiralibey”, “Chukhanli”, “Bico”, “Sor-Sor”, “Hajigabul” and others. compositions included. Rich and intricately patterned compositions of Shirvan carpets have been popular since the Middle Ages. German, English merchants and ambassadors of the 6th-8th centuries provided valuable information about the artistic value of Shirvan carpets in their diaries. These carpets were glorified in the paintings of European artists in the XIV-XV centuries. Dutch artist Hans Memling (15th century) described the Shirvan carpet in Maryam with her baby.

Xovlu xalça, "Şilyan", XIX əsr, Şirvan
Pile carpet, “Shilyan”, XIX century, Shirvan

4. Ganja carpet school covers Ganja city and its surrounding villages, Gadabay and Goranboy, Shamkir, Samukh districts. The center of this school is Ganja. Ganja, one of the ancient cities, is located in the northwest of Azerbaijan. Ganja was known in the X-XI centuries as a center for the production of silk, wool fabrics and silk carpets. For centuries, Ganja, the center of high-quality carpet production, had special carpet workshops. Ganja carpet-weaving school had a positive impact on the carpet-weaving of the regions around Ganja. Ganja carpet school includes “Ganja”, “Ancient Ganja”, “Golkend”, “Fakhrali”, “Chaykend”, “Chayli”, “Shadili”, “Chiragli”, “Samukh” and others. compositions included. The “Fakhrali” prayer carpet, which belongs to the Ganja group, differs from other carpet compositions due to its high artistic features and texture.

Xovlu xalça, "Güllü", XIX əsr, Gəncə
Pile carpet, “Gullu”, XIX century, Ganja

5.

Azerbaijanis live in Georgia, and Goycha carpet-weaving centers in Armenia, a historical settlement of Azerbaijanis until 1988.

The Gazakh carpet station includes Gazakh and its surrounding villages, Agstafa and Tovuz regions, one of the ancient cities of Azerbaijan.

The Goycha carpet-weaving center covers the area around Bambak, Lambali, Icevan, Gara-Koyunlu and Goycha Lake (now Sevan).

The Borchali carpet center is covered by Borchali, Garayazi, Garachop, Gachagan carpet stations. Gazakh group, “Shikhli”, “Borchali”, “Qaymagli”, “Garagoyunlu”, “Garayazi”, “Garachop”, “Gachagan”, “Dagkesemen”, “Demirchiler”, “Kemerli”, “Goychali”, “Salahli” and so on. includes tasteful carpets.

The carpets of these schools create a harmonious color with few colors. The patterns of the Ganja-Gazakh carpets attracted the interest of European artists in the Middle Ages.

Xovlu xalça, "Şıxlı", XIX əsr, Qazax
Pile carpet, “Shikhli”, XIX century, Gazakh

6.

The Karabakh carpet school, located in the south-west of Azerbaijan, has developed in two regions – mountainous and lowland. In written sources, Arab historians Al-Muqaddas, Masudi and others. In the 19th century, the city of Shusha and Dashbulag, Dovshanli, Girov, Trniviz, Malibeyli, Chanakhcha, Tug, Tuglar, Hadrut, Muradkhanli, Gasimushagi, Gubadli were involved in carpet production in the Nagorno-Karabakh region of Karabakh. , Gozag, Mirseyid, Bagirbeyli, Khanlig, Tutmas villages played a key role. Undoubtedly, Jabrayil, Aghdam, Barda and Fizuli carpets play a key role in the production of carpets in the lowlands, which are better supplied with raw materials than in the mountainous zone. In each of these centers, there were a large number of villages where the population was intensively weaving carpets for sale. Zangazur and Nakhchivan carpet production centers are also included in the Karabakh carpet school in terms of their artistic structure, technological features and color scheme. “Aran”, “Garden flowers”, “Fish”, “Horn”, “Barda”, “Bahmanli”, “Karabakh”, “Old man”, “Gasimushagi”, “Lamberani”, “Mugan”, “Talysh”, “Lampe ”,“ Malibeyli ”,“ Khangarvand ”,“ Khanlig ”,“ Khantirma ”,“ Chalabi ”,“ Shabalidbuta ”, etc. Various carpet compositions are one of the classic examples of the Karabakh school of carpet weaving. In Karabakh, a set of 5 carpets adapted to the interiors of houses – gabas – is widespread.

In the early 1750s, Karabakh khan Panahali khan attacked the city of Shusha. The city was originally called Panahabad and for many years was the capital of the Karabakh khanate. In the 18th century, the Karabakh carpet-weaving school was concentrated in Shusha. In the 18th century, in Shusha, along with classical carpets, new carpet compositions – “Garden Flowers”, “Saxidaguls”, “Clouds” and others were created from patterns taken from trays, fragrant soap, fences and other household items imported from Russia and Europe. condiments were touched. The color palette of Karabakh carpets is very rich. This palette reflects the most delicate shades of all the colors of Karabakh nature. From ancient times, the middle ground of Azerbaijani carpets has been traditionally decorated in red. Along with various plants, since the Middle Ages, the colors here were derived from a variety of insects. The most common of these to get a red color is cochineal. Among the people he was called “red beetle”, “red worm”, “oak beetle”.

Plot carpet, XIX century. Karabakh

7. The peace treaty signed between Russia and Iran on February 10, 1828 in the village of Turkmenchay near Tabriz went down in history as the Turkmenchay Treaty, which ended the Russian-Iranian war of 1826-28. Under the terms of the agreement, the northern part of Azerbaijan became part of Russia. The southern part of the country, including Tabriz, Ardabil, Urmia, Khoy, Maragha, Marand, Maku and other cities, came under Iranian rule. Thus, Azerbaijan was divided into two parts. The term “South Azerbaijan” has appeared since that time. Since then, the carpet samples of the Tabriz carpet-weaving school have been known all over the world as Iranian carpets.

Xovlu xalça, "Naxçıvan", XVIII əsr. Təbriz
Pile carpet, “Nakhchivan”, XVIII century. Tabriz

Tabriz Carpet School is the oldest and most famous carpet-weaving school in Azerbaijan. Covers. Turkic-speaking tribes living in this area have played an important role in the establishment and development of carpet weaving since ancient times, and at various times had a significant impact on the formation of Iranian carpet art. In the Middle Ages, trade relations with one of the most important trade centers and rich cities of the East, as well as with Europe, led to the rapid development of the art of carpet weaving.

The Tabriz carpet-weaving school, which was already flourishing in the XI-XII centuries, mastered the artistic features of the Tabriz miniature school in the XIII-XIV centuries, and reached a high stage of development in the XVI-XVII centuries. Pileless and pile carpets belonging to this school are distinguished by artistic design, color harmony, variety of ornamental ornaments. Tabriz carpet-weaving school is divided into 2 groups according to the main carpet compositions: Tabriz and Ardabil groups. “Tabriz”, “Bakhshaish”, “Garaja”, “Goravan”, “Heris”, “Lechekturunj”, “Afshan”, “Agachli”, “Hunting”, “Four seasons” compositions to Tabriz group, “Ardabil” to Ardabil group, These include “Sheikh Safi”, “Shah Abbas”, “Sarabi”, “Zanjan”, “Mir” and “Achma-yumma”. “Garden-paradise”, “Garden-forest”, “Fish”, “Buta”, “Dervish”, “Ketabali”, “Gordest”, “Gollu-gushali”, “Guldanli”, “Leyli and Majnun” of Tabriz carpet-weaving school , “Mashahir”, “Mun”, “Namazlig”, “Najagli”, “Sarvistan”, “Sardari”, “Sahand”, “Silsilavi petal”, “Farhad and Shirin”, “Khayyam”, “Khatai”, “Haddad ”,“ Charkhi-gul ”,“ Jeyranli ”and others. Classical compositions are also popular. The famous Sheikh Safi carpet (size 56.12 sq. M, 1539, Victoria and Albert Museum, London) woven in Tabriz with the composition “Lechekturunj” is the most beautiful example of ornamental carpets, a masterpiece of the Tabriz carpet-weaving school.

Development of carpet weaving in the XX century. The next period of development of Azerbaijani carpet art dates back to the middle of the 20th century. During this period, the development of Azerbaijani carpet art continued in several directions and was multifaceted. The traditions of carpet weaving in the districts and villages of the republic are continued by individual carpet weavers. The creative approach to classical compositions is evident in the carpets they weave in traditional flavors. At the same time, new compositions and pattern elements appear in carpet weaving. The new flavors are dominated by floral patterns with relatively curved lines, depictions of people, animals, birds, lyrical and romantic compositions. Another branch of the development of carpet art is the activity of “Azerkhalcha” Production Association. The creative changes made by the masters from the traditional patterns, lakes and colors on the carpets woven in the workshops and workshops of Azerkhalcha increase and enrich the number of classical carpet compositions.

Another branch of carpet art is continued and developed by professional artists. Carpets woven on the basis of new ornaments and patterns created by them are important in enriching classical compositions.

Although sometimes the classical canons are violated in the composition, painting solution and color of these carpets, various artistic and technical means help to open the subject. Important measures have been taken to develop carpet weaving in Azerbaijan. Carpet weaving as a field of art and science named after A.Azimzade. He teaches at the Azerbaijan State School of Art, Azerbaijan State University of Culture and Arts, as well as art colleges. Carpet weaving is taught as an art in technical vocational schools, children’s art galleries and other places.

Xovlu xalça. "Şeyx Səfi", XVI əsr, Təbriz
Pile carpet. “Sheikh Safi”, XVI century, Tabriz

The study of Azerbaijani carpet art as a field of science and the modern development of the work of professional artists is associated with the name of the People’s Artist of Azerbaijan Latif Karimov (1906-1991). L.Karimov, known as a master of Oriental, including Azerbaijani carpets and decorative-applied arts, a prominent ornamentalist-artist, research scientist, studied Azerbaijani carpets for many years, enriched Azerbaijani decorative art with new ornaments and created new decorative motifs based on traditional decorative elements. “Afshan” (1932), “Gonagkend” (1939), “Lechekturunj” (1952), “Shusha” (1953), “Goygol” (1958), “Karabakh” (1960), “Islimi” woven on the basis of L.Kerimov’s sketches ”(1964),“ Butali ”(1965),“ Spring ”(1966,1976),“ In the world of animals ”(1969),“ Shabi-Hijran ”(1975),“ Zarkhara ”(1977),“ Firdovsi ”(1934 ), “Samad Vurgun” (1956), “Vagif” (1967), “Fuzuli” (1972), “Nasimi” (1974), “Safiaddin Urmavi” (1975), “Ajami” (1976) and others. Ornamental and portrait carpets are valuable examples of the art of carpet weaving due to the compatibility of ornamental elements, compositional exhaustion, elegance and expressiveness of paintings, rich color. In 1949 he was awarded the USSR State Prize in 1950 for the “Stalin” carpet he created together with the authors. His solo exhibition, which opened in London in 1986, was a great success. “Lechekbandlik” (1983), “Katababendlik” (1984), “Song of centuries” (1985) and others. carpets were demonstrated. L. Karimov’s multi-volume work “Azerbaijani carpet” analyzes more than 1300 elements of Azerbaijani carpet ornament.

Carpet weaving is one of the oldest and most widespread types of Azerbaijani folk art. This type of art, loved by the people of Azerbaijan, has been passed down from generation to generation with care. The language and calories of his patterns were close and clear to everyone. Unknown artists have created unique carpets that are still loved and admired for their artistic perfection.

Beautiful carpets and carpet products created by Azerbaijani women decorate the Hermitage in St. Petersburg, Victoria and Albert in London, Textile in Washington, the Louvre in Paris, Topkapi in Istanbul, as well as the Museum of Azerbaijani Carpets and Museums of Azerbaijani History in Baku.

Historical sources contain a lot of information about the highly developed carpet production in Azerbaijan and its export to different countries.

Famous 10th century Arab historians Abu Safar Mohammad Tabari and Al Muqaddas note that beautiful carpets were produced in Barda, Azerbaijan.

In the ancient folk epic Dada Gorgud (X-XII centuries) especially colorful Azerbaijani carpets are described. The Flemish traveler Monk Rubruk (13th century) and the Venetian traveler Marco Polo (13th century) were also fascinated by the beautiful Azerbaijani carpets.

It is no coincidence that Azerbaijani carpets have been depicted in the works of European artists Hans Golbeynik, Hans Memling and others since the 15th century.

The writings of the English traveler Anthony Jenkinson (16th century) and the Dutch navigator Ian Streis (17th century) also mention beautiful Azerbaijani carpets.

Samples of carpets made by folk artists, as well as carpets by professional artists are presented in this set of postcards.

Azerbaijani carpets are divided into pile and non-pile according to the technology of production.
Pileless carpets, which are much older than piles, have a unique pattern and bright colors. Non-woven carpets are also called “household carpets” in connection with the daily life and activities of the Khak. These are palaz, kilim, cicim, shadda, verni, zilli, sumakh, which are the initial stage in the development of carpet weaving. At this stage, carpets were produced in a simple way by weaving the strands together and weaving the edges.

Pile carpets with numerous compositional schemes and richly ornamented motifs are also especially distinguished. Pile carpets are more complicated in terms of weaving technique: they were woven by “Turkbaf” – a method of tying threads together. This method opens up a wide range of possibilities for the harmony of patterns, colors and plots. These pile carpets, which combine the beauty, craftsmanship and inspiration of the whole world, are still woven in different sizes today: small ones – carpets, rugs, prayer rugs, thrones, rugs, and large ones – rugs, rugs. Each has its place. At the same time, the aesthetic principle of the Azerbaijani carpet is reflected in the horizontal solution of “paintings”, the rhythm of the pictures, the tradition of dividing into central and large parts, the laconic geometry of the elements. And all this, in turn, is distinguished by the diversity of form, motive and artistic idea.
Their color palette corresponds to all the colors of the rainbow. The names of the carpets are mainly related to the places where they are produced. The world-famous art of Azerbaijani carpet weaving is now

Xovlu süjetli xalça, "Ovçuluq", XIX əsr, Təbriz

Pile with a pile plot, “Hunting”, XIX century, Tabriz

Azerbaijani themed carpets have an older history than ornamental products. Their theme was taken from life itself, enriched by beautiful nature and was closely connected with structure, life, traditions, socio-historical processes. The “content” of such carpets is as colorful as the plots of novels written over the centuries. According to its origin, the oldest motive and image is “hunting”. Hunting carpets have a more permanent place in the decorative art of Azerbaijan. Carpets rich in traditional motifs of Eastern classical literature are also famous. The most popular of these motifs to date are the themes and plots benefiting from the works of the great Azerbaijani poet and thinker Nizami Ganjavi.