Açıklama
Abstract
In the weaving traditions of Turkic peoples, motifs reflecting philosophical ideas about the structure of the world are widely encountered. These motifs are incorporated into the composition through the overall schematic structure of the carpet and the placement of small auxiliary motifs, and they are regularly repeated in the form of rapports within the composition. The patterns reflected on carpets and other forms of decorative art possess a dual nature. One may describe this as the visible and the invisible – that is, the ornament with its visual appearance and its semiotic interpretation. Sometimes this semiotic meaning originates from expressions found in oral folk literature. Visually, these patterns consist of geometric elements first drawn or carved on rocks and pottery, representing the metaphysical and mystical artistic depiction of the Universe. They also include zoomorphic and anthropomorphic motifs. Over time, these patterns began to appear on metal objects and textile works as well. In both cases, they symbolize a form of represented power or force.
In traditional Azerbaijani art, visualization refers to a symbolic context formed through the convergence of signs, images, and meanings. Through ornaments, people concisely embedded ideologically significant, important, and widely recognized motifs that referred to historical memory.
The greater importance given to ornament can be explained by the fact that it represents the heritage of ancestors, the decorative history of its era, and a form of collective memory; therefore, it can be described as a trace of the past.
The study of ornaments in the history of Azerbaijani art began in the 1960s–1970s. Researchers such as Arif Gaziyev, Nasir Rzayev, Latif Karimov, Mashadikhanim Nematova, and Rasim Afandiyev examined ornamental art within the context of Turkic identity, across different historical periods and various forms of art. It should not be forgotten that at that time, more importance was given to the promotion of socialism in state policy. However, among young researchers there was a growing desire to study the aesthetic value of ornament, the rich heritage of folk craftsmanship, and the world of reality that had been uniquely poeticized and transformed by the creative imagination of the people, characteristic of semi-nomadic cultures.
In the contemporary period, Azerbaijani carpet art continues to achieve significant success through works created by new generations of artists. Tradition is being carried forward along new paths.
In modern carpet art, alongside artisans who preserve traditional techniques in their classical form, there are also new-generation artists who deconstruct ancient patterns and synthesize them with contemporary art. This direction maintains the principles of classical carpet-weaving schools while introducing visual metamorphoses and philosophical innovations. Through a new ideological approach, they present their ideas as messages, conveying them to the audience in the form of installations and conceptual art objects. Among these artists are Faig Ahmed, Chingiz Babayev, Aydan Salahova, Rashad Alakbarov, Medina Kasimova, Tarlan Gorchu, and others. These works are highly appreciated among representatives of the younger generation. It would be more accurate to describe them as a new worldview of traditional Azerbaijani culture.
| Anahtar Kelimeler | Keywords | art, ornament, tradition, semantics, modernity, carrier, ideology |
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