GEOMETRY OF LIFE
Simple and complex geometric ornaments are widespread in Azerbaijani carpets . All of them initially personified the mythological model of the world and the cosmos , which is a perfect space . Geometric ornaments are popularly used in the decoration of products of various peoples around the world , and each nation interpreted these images in accordance with its own worldview . For example , a circle meant the sun , a square – the earth , a triangle – a mountain , a svastika – the motion of the sun , a spiral – development , movement .
Simple geometric patterns include straight , broken , and wavy lines , images of the sun , moon , and stars . Celestial bodies were usually depicted in the form of a circle . The square or rectangle served as a designation for arable land , being a key figure in the agricultural cult . The motif of the triangle is associated with magic , a talisman against the evil eye , and evil forces .
A rhombus element appeared in the early agricultural period , depending on the location and additional designations , represents land , a house , a woman , and a fruitful beginning in general . For example , a simple rhombus with nine small squares meant a pregnant woman . Diamond-shaped patterns , gradually grew into more complex , transformed into ketebe ( cartouches ), and became an integral part of the ornaments of Azerbaijani arts and crafts : carpet weaving , textiles , embroidery , stone carving , etc .
Schematic conventional ornaments of ancient times flourished in Azerbaijan in the Middle Ages . This was primarily due to the development of geometry , algebra , and other exact sciences . The openwork ornament covering the entire surface of the carpet was formed by combining geometric elements – rectangles , rhombuses , triangles , parallelograms , and hexagons .
EMERGENCE OF HUMAN
Motives of anthropomorphic ornament are designed by male and female stylized figures or separate parts of the human body . For Azerbaijani carpet weaving and applied art in general , this is a relatively rare element , still , it makes it all more interesting to trace its evolution .
In ancient anthropomorphic images , the human figure is interpreted extremely conditionally . The image faces the front . Sometimes one can identify the gender ; facial features are often absent . In the general configuration , some images are close to the Gobustan petroglyphs . Sometimes an anthropomorphic figure is inscribed inside the animal image as a sign , having no separate meaning .
The depictions of a person in the flat woven carpets of Azerbaijan are few in number and inconstant , again given in a contour-planar manner . They have an unusual feature : being present in one or another composition , later , can disappear from the same compositions . For example , in shadda flat-woven carpets , a caravan with riders originally adorned the composition . However , later , images of people from this composition disappeared , only the animals in a caravan remained .
Only in very late urban carpets , one can observe the image of a human , modeled according to a new vision : with facial features , details of clothing , etc .
For example , the composition Bandi-Rumi , visually reminiscent of a fishing net , consists of diamond-shaped fragments repeating one after another vertically and horizontally . This composition is widespread in the decorative arts of Azerbaijan and the Middle East , primarily in carpet weaving .
Carpet Gabistan . Shirvan , Azerbaijan . Early 20th century . Wool . Pile , handmade . Azerbaijan National Carpet Museum collection .
© Azerbaijan National Carpet Museum
Bag . Shirvan , Azerbaijan . Late 19th century . Wool . Flat-woven , handmade . Azerbaijan National Carpet Museum collection .
© Photo : Azerbaijan National Carpet Museum
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