A Carpet Story

Emin Mammadov, born in Baku, Azerbaijan, in 1970, is the founder of QGallery Baku and QGallery Berlin, which showcase contemporary art. As the Artistic Advisor of the Heydar Aliyev Foundation and Center, Mammadov has been a key figure in organizing numerous exhibitions in Azerbaijan and across Europe. Since 2021, he has chaired Azerkhalcha OJSC, which creates contemporary carpets incorporating traditional elements. He is also a member of Azerbaijan’s Expert Committee on Monuments, Vice-President of ICOM Azerbaijan, and an Honored Worker of Art. Emin Mammadov's work spans international exhibitions such as Fly to Baku, Venice Biennale pavilions, and the Nasimi Festival. He has curated over 60 exhibitions at the Heydar Aliyev Center and contributed to multiple cultural heritage and art projects, including the International Nasimi Festival, Giz Galasy Art Festival, and more. He is an honorary member of the Russian Academy of Arts, and he was awarded the Tereqqi (Progress) medal and the Certificate of Honour from Azerbaijan’s Ministry of Culture.

Emin Mammadov passionately discussed the significance of Azerbaijani carpet patterns, emphasizing their deep cultural and historical roots. He elaborated on the pioneering work of Latif Karimov, who systematically categorized Azerbaijani carpets into distinct types and groups based on their unique characteristics, such as loop density and pattern elements. This classification includes the Guba-Shirvan, Ganja-Kazakh, Karabakh, and Tabriz types, each reflecting the region's specific technical and technological nuances. Mammadov highlighted the importance of preserving these traditional patterns and the knowledge embedded within them. He explained that understanding the "language" of the carpets requires familiarity with Azerbaijan's history and folklore. The emotional and physical states of the weavers are often subtly woven into the carpets, adding layers of meaning and value to these works of art. In discussing the global influence of Azerbaijani carpets, Mammadov noted the spread of carpet art along historical trade routes like the Silk Road. He described how specific patterns, such as the octagonal "Oguz stamp," have transcended borders and can be found in the symbols of Azerbaijan and Turkmenistan, reflecting a shared cultural heritage and instilling a sense of pride in our cultural heritage.

He concluded by reflecting on the enduring significance of carpets as carriers of cultural heritage. Mammadov emphasized the vital role of innovation in keeping this heritage alive, ensuring that the art of Azerbaijani carpet weaving continues to flourish and evolve while staying true to its historical roots.

Speaking on the historical significance of carpets in ancient civilizations such as Persia, Egypt, and China.  “The art of carpet weaving has deep historical roots, tracing back to ancient civilizations such as Persia, Egypt, and China. Intertwined with cultural and spiritual values, this craft has played a significant role in the everyday lives of people across these regions. Emin Mammadov, an expert in the field, sheds light on carpets' origins and cultural significance, highlighting how this art form has evolved alongside human civilization. From the earliest days, humans have used weaving as a practical solution to protect their living spaces from the elements. Over time, this necessity blossomed into an art form, with various weaving techniques emerging in different parts of the world. The Turkic peoples, including the Azerbaijani, viewed carpets not just as household items but as embodiments of their spiritual and cultural values. This perspective is evident in Azerbaijan, where carpets are integral to daily life, from children's first steps to rituals honoring the deceased. In the Middle Ages, Azerbaijan emerged as a significant center for both piled and pileless carpet production in the East. The "Sheikh Shafi" carpet, woven in 1539 in Ardabil, South Azerbaijan, and now housed in London's Victoria and Albert Museum, exemplifies the pinnacle of Azerbaijani carpet artistry. With their intricate designs and vibrant colors, Azerbaijani carpets are prominent exhibits in many of the world's most famous museums. One of the most notable ancient carpets is the "Pazırık" carpet, discovered in a burial mound in Siberia in 1949 and now housed in the Hermitage Museum in St. Petersburg. This carpet, over 2,500 years old, is believed to have been woven for the burial of a Turkic tribe leader. Its complex design and advanced weaving technology underscore the deep historical roots of carpet weaving among Turkic peoples. The Hungarian Turkologist Laszlo Rasonyi, among others, has linked the origins of carpet knotting techniques to these nomadic tribes, connecting the evolution of carpet-making with their way of life. The "Pazırık" carpet, with its rich symbolism and intricate patterns, reflects ancient Turkish traditions. Emin Mammadov notes that the patterns on this ancient carpet are a treasure trove of cultural and historical information, preserving the legacy of the Oguz people. However, he also emphasizes that carpet art is not exclusive to Turkic peoples. Throughout history, many civilizations, including Greek, Persian, Egyptian, Indian, Chinese, and Japanese, have influenced and been influenced by this art form. The synthesis of cultural characteristics from various peoples has enriched the tradition of carpet weaving, making it a shared cultural heritage. The spread of carpet weaving, particularly piled carpets, has been influenced by ethnic migrations, trade routes, and the Silk Road. Countries like Turkey, Azerbaijan, Iran, India, and China have been pivotal in developing and diversifying this art. The patterns found on carpets often reflect broader cultural exchanges, as seen in the common motifs shared across regions linked by the Silk Road.

In summary, the historical significance of carpets in ancient civilizations extends beyond their practical uses. They are cultural artifacts that embody the artistic, spiritual, and social values of the people who created them. As Emin Mammadov eloquently explains, the art of carpet weaving is a vital part of human heritage, a testament to the creativity and cultural richness of ancient civilizations. Today, these carpets continue to be cherished for their beauty and craftsmanship, serving as reminders of the enduring legacy of the past and connecting us to a rich cultural heritage.

On how have patterns and motifs found in traditional Azerbaijani carpets influenced other design and art forms throughout history. “The intricate patterns and motifs in traditional Azerbaijani carpets have long transcended their original purpose, influencing various design and art forms throughout history. These carpets, rich with national traditions and symbolism, are treasures of the Turkic cultural heritage and serve as a bridge of friendship between peoples, linking past and future generations.

Azerbaijani carpets, particularly those from North Azerbaijan, are known for their geometric elements, including stylized and geometric patterns inspired by natural elements. One notable motif is the "Damga" and the octagonal patterns attributed to the Oghuz Turks, which have been preserved and passed down through generations. These motifs are not just limited to carpets but are also seen in other forms of art and cultural artifacts, indicating their deep cultural significance and widespread influence. The Oghuz Turks, whose name first appeared in the Yenisei Inscriptions, left behind patterned marks that act as mysterious messages from the past to future generations. The octagonal "Oguz stamp" is one such geometric element that has endured through centuries, maintaining its significance in various cultural contexts. This motif is prominently featured in the symbols of both Azerbaijan and Turkmenistan, including their national coats of arms. In Azerbaijan, the eight-pointed star featured in the State Coat of Arms symbolizes the sun, representing eternal, permanent, and endless life. The white color of the sun signifies security and peace, while the flame at its center symbolizes Azerbaijan, often referred to as the "Land of Fires." This flame also symbolizes progress and development, reflecting Islamic values and representing "Allah" in the Arabic script.

Similarly, in Turkmenistan, the national coat of arms features a circular carpet at its center, symbolizing the nation's wealth and cultural heritage. The depiction of the "Ahal Teke" horse, a pride of Turkmenistan, further highlights the deep cultural and historical roots embedded in these symbols. These elements, originating from Azerbaijani carpet designs, have found their way into various aspects of cultural identity and state symbolism. They highlight the enduring legacy of Azerbaijani carpet art, showcasing how these traditional motifs have influenced and been integrated into broader artistic and cultural narratives across regions. This influence not only underscores the rich cultural heritage of the Turkic peoples but also demonstrates the universal appeal and timelessness of Azerbaijani carpet patterns in the global cultural landscape.”

On the reflection of the cultural heritage and identity of the regions, the carpets belong to, and the importance to preserve it. “Carpets, as intricate and expressive art pieces, reflect the rich cultural heritage and identity of the regions they originate from. In Azerbaijan, a country known for its diverse geography and rich traditions, carpets are decorative items and symbols of the nation's history and cultural diversity. The country's various regions, each with unique geographical and cultural traits, have contributed to the distinct styles in Azerbaijani carpets, making them a vital part of the country's applied arts.

The patterns and motifs found in Azerbaijani carpets are deeply rooted in the nation's cultural and historical context. These designs have been the subject of extensive research, with Latif Karimov, a distinguished artist-scientist and carpet expert, pioneering the study of Azerbaijani carpets. Karimov's work focused on understanding the meaning and origins of these patterns, which he described as the "Letters of the Carpet Alphabet." He provided a comprehensive scientific and artistic explanation of these motifs, revealing their significance in the broader context of Azerbaijani culture.

Azerbaijani carpets can be broadly categorized into two types: piled and pileless. The pileless carpets include styles such as "Sumag," "Varni," "Cecim," "Ladi," "Zili," "Shadda," "Kilim," and palazzi carpets. Karimov's research also systematized Azerbaijani carpet art into distinct regional groups, such as Guba, Shirvan, Baku, Ganja, Gazakh, Karabakh, and Tabriz. Each group is characterized by unique technical, technological, and aesthetic features, reflecting their regions' specific cultural and geographical traits. The names of these carpets often derive from their place of origin, the composition of their textures, or the creative visions of their makers. The intricate patterns and craftsmanship of carpet-making embody the region's cultural stories and historical events. For example, the Guba, Shirvan, and Baku carpets are known for their distinct Guba-Shirvan type, while those from Karabakh, Shusha, and Jabrail are recognized for their unique Karabakh style. Preserving these carpets is not merely about maintaining a craft; it is about safeguarding a vital part of Azerbaijan's cultural and historical narrative. Depending on its storage conditions, each carpet can last for many years, linking past and future generations. To truly appreciate these carpets, one must be familiar with Azerbaijan's history, folklore, and spiritual world. Creating a carpet, which involves meticulous loop-by-loop weaving, captures the weavers' technological and aesthetic qualities and emotional and spiritual state. This imbues each carpet with a unique historical and cultural significance.

In modern Azerbaijan, there is a strong emphasis on preserving these national and cultural resources. Azerbaijani carpets are considered carriers of the nation's history, traditions, and cultural wealth. Protecting this heritage and passing it on to future generations is a national duty, ensuring that these invaluable cultural artifacts continue to tell the story of Azerbaijan's rich and diverse cultural tapestry.”