Genetic Code of Memory: Azerbaijani Carpets
Genetic Code of Memory. Azerbaijani Carpets at Museum of Decorative Arts and Design, Riga, Latvia (16 May - 15 September 2024) is the first large-scale exhibition of Azerbaijani textile art in Riga, Latvia. It opens up a world of culture, traditions, history, roots, and deep connections with various civilisations and peoples.
Cultural traditions are an indispensable tool for transmitting information that is not limited by borders and geography. These traditions encompass various aspects of culture, including language, customs, religious practices, art, music, dance, cuisine, and many other aspects of daily life. Crafts, as a critical element of visual memory, have always been conduits of universal values and held an integral place in the art and culture of people worldwide. Passed down from generation to generation, traditions serve not only as a means of preserving and transmitting knowledge but also as a way of shaping and strengthening the identity of a group of people. They become part of the cultural heritage that unites people, providing them with a sense of belonging and forming the foundation for community and mutual understanding. Cultural traditions also play a crucial role in the exchange of experiences and values between different cultures. They contribute to cultural diversity and enrich society. In the modern world, where there is a lot of interaction between different cultures and nations, cultural traditions become a bridge that brings people together and enriches their society with diversity and cultural exchange.
The analogy or resemblance of ornamental language used in the art and crafts of various peoples can impress with its diversity and, at the same time, its surprising similarity. This reflects common themes, values, and influences that permeate the cultures and arts of different peoples. Many ornamental patterns and motifs have their roots in traditional beliefs, inspired by symbols of nature and the cosmos for centuries; for example, geometric, biomorphic, and zoomorphic ornaments. These similarities may result from cultural exchange, migration, trade, and shared human experiences. Exploring the similarities in ornamental styles can lead to an understanding of universal artistic themes and allow us to appreciate the richness of cultural heritage that unites humanity in its creative expressions. The similarity between Latvian and Azerbaijani ornamentation, found in almost all art forms, is striking and reflects various aspects of cultural interaction, historical ties, or common themes that have influenced the cultures of both countries. Solar signs, swastikas (ancient symbols of good fortune), images of animals, birds, and common compositional schemes in ornamental decor can serve as important evidence of the endless interpenetration of beliefs, values, and artistic traditions between the cultures of Latvia and Azerbaijan. These elements may have deep historical roots and be used to convey significant symbols and ideas. Overall, ornaments and symbols are a powerful language that transcends time and borders, uniting people and revealing deep cultural and spiritual connections.
The general concept of the exhibition is primarily to present the carpet not just as a functional object used for centuries in the daily lives of many people but as a living symbol of the memory of folk creativity.
Latvia and Azerbaijan, whose statehood dates back over 100 years, are historically and traditionally close; both countries share long-standing ties. They have also established a successful political dialogue, and the two countries closely cooperate at intergovernmental and interparliamentary levels. The prospects for cooperation in the fields of culture and business are quite broad, and in this context, art and culture are the most solid bridges between the peoples of Azerbaijan and Latvia.
Genetic memory is part of the culture and morality of our society. Its representation in an Azerbaijani carpet makes it not just a beautiful interior item but also the life of an entire people, woven over hundreds of years. Azerbaijani carpets, with their ancient history, are known worldwide for their unique ornamentation, composition, and colour palette. They reflect legends and facts, defeats and victories, pride in the past, and hope for a brighter future.
Supported by the Embassy of Azerbaijan in Latvia and the company Azerkhalcha, whose goals include the preservation of ancient carpet-weaving traditions, dynamic development of carpet weaving while maintaining centuries-old traditions, providing social support to women carpet weavers living in rural and mountainous areas, and creating sustainable, environmentally friendly products. Azerkhalcha was established in 2016 by decree of the president of Azerbaijan, Ilham Aliyev, and has 14 active workshops in various regions of Azerbaijan, including regions where carpets have been traditionally woven since ancient times. The production employs 450 weavers of different ages. Azerkhalcha creates and produces modern carpets with traditional classical elements in close collaboration with local and foreign artists and designers, among whom two individuals stand out: the famous Israeli artist Rami Meir and the world-renowned European carpet designer Jan Kath, who is among the 100 significant international designers according to Architectural Digest 2024.
Among the carpets presented at the exhibition are works of art created by the masters of Azerkhalcha, which incorporate elements from ancient classical carpets and are based on the collection of the world-famous Azerbaijani designer and founder of AFFAIR, Rufat Ismayil. In collaboration with contemporary artists, the exhibition features two carpets from the Karabakh group Gasimushaghi from the 44 collection, created with the participation of the creative team of Azerkhalcha and based on the ideas of the Honoured Artist of Azerbaijan, Rashad Alekbarov, reflecting the preservation of historical traditions in modern reimaginings. Also featured at the exhibition is one of the most interesting exclusive collections of limited-edition carpets, Fruits in the Garden. Carpets from this series, made in a 3-D technique, are woven based on the eponymous artistic collection by artist Samira Allahverdiyeva.
Additionally, the exhibition showcases carpets from the Chalabi series, from its classic version to modern interpretations. The Chalabi carpet is one of the brightest and most distinctive carpets from the Karabakh group. One of the earliest Chalabi carpets, dating back to the late 17th-early 18th centuries, was woven during the Safavid dynasty and was once housed in the Museum of Turkish and Islamic Arts in Istanbul. Among the Turkic people, the word Chalabi was also considered an honorary title given to high-ranking officials and nobles. Chalabi is also the name of a large Turkish-origin ethnic group belonging to the Oghuz people, which is widely spread in Turkey, Azerbaijan, Iran, Iraq, and several other Eastern countries. A large medallion – Gyunesh or Chalabi – widely used in Karabakh carpets, is located in the central field of the carpet. This ancient symbol was associated with the sun and divine light spreading its rays in all directions. The carpet stands out with its high-quality weaving, precise compositional structure, and unique colour palette.
The exhibition and its accompanying lectures, seminars, and carpet-weaving master classes have generated significant interest among museum visitors, offering a completely new perspective on the traditional carpet in all its diversity.
Text by Asmar Babayeva
Genetic Code of Memory. Azerbaijani Carpets is on show at Museum of Decorative Arts and Design, Riga, Latvia until 15 September 2024.
Find out more and plan your visit:
www.lnmm.lv/the-genetic-code-of-memory-azerbaijani-carpets
Cultural traditions are an indispensable tool for transmitting information that is not limited by borders and geography. These traditions encompass various aspects of culture, including language, customs, religious practices, art, music, dance, cuisine, and many other aspects of daily life. Crafts, as a critical element of visual memory, have always been conduits of universal values and held an integral place in the art and culture of people worldwide. Passed down from generation to generation, traditions serve not only as a means of preserving and transmitting knowledge but also as a way of shaping and strengthening the identity of a group of people. They become part of the cultural heritage that unites people, providing them with a sense of belonging and forming the foundation for community and mutual understanding. Cultural traditions also play a crucial role in the exchange of experiences and values between different cultures. They contribute to cultural diversity and enrich society. In the modern world, where there is a lot of interaction between different cultures and nations, cultural traditions become a bridge that brings people together and enriches their society with diversity and cultural exchange.
The analogy or resemblance of ornamental language used in the art and crafts of various peoples can impress with its diversity and, at the same time, its surprising similarity. This reflects common themes, values, and influences that permeate the cultures and arts of different peoples. Many ornamental patterns and motifs have their roots in traditional beliefs, inspired by symbols of nature and the cosmos for centuries; for example, geometric, biomorphic, and zoomorphic ornaments. These similarities may result from cultural exchange, migration, trade, and shared human experiences. Exploring the similarities in ornamental styles can lead to an understanding of universal artistic themes and allow us to appreciate the richness of cultural heritage that unites humanity in its creative expressions. The similarity between Latvian and Azerbaijani ornamentation, found in almost all art forms, is striking and reflects various aspects of cultural interaction, historical ties, or common themes that have influenced the cultures of both countries. Solar signs, swastikas (ancient symbols of good fortune), images of animals, birds, and common compositional schemes in ornamental decor can serve as important evidence of the endless interpenetration of beliefs, values, and artistic traditions between the cultures of Latvia and Azerbaijan. These elements may have deep historical roots and be used to convey significant symbols and ideas. Overall, ornaments and symbols are a powerful language that transcends time and borders, uniting people and revealing deep cultural and spiritual connections.
The general concept of the exhibition is primarily to present the carpet not just as a functional object used for centuries in the daily lives of many people but as a living symbol of the memory of folk creativity.
Latvia and Azerbaijan, whose statehood dates back over 100 years, are historically and traditionally close; both countries share long-standing ties. They have also established a successful political dialogue, and the two countries closely cooperate at intergovernmental and interparliamentary levels. The prospects for cooperation in the fields of culture and business are quite broad, and in this context, art and culture are the most solid bridges between the peoples of Azerbaijan and Latvia.
Genetic memory is part of the culture and morality of our society. Its representation in an Azerbaijani carpet makes it not just a beautiful interior item but also the life of an entire people, woven over hundreds of years. Azerbaijani carpets, with their ancient history, are known worldwide for their unique ornamentation, composition, and colour palette. They reflect legends and facts, defeats and victories, pride in the past, and hope for a brighter future.
Supported by the Embassy of Azerbaijan in Latvia and the company Azerkhalcha, whose goals include the preservation of ancient carpet-weaving traditions, dynamic development of carpet weaving while maintaining centuries-old traditions, providing social support to women carpet weavers living in rural and mountainous areas, and creating sustainable, environmentally friendly products. Azerkhalcha was established in 2016 by decree of the president of Azerbaijan, Ilham Aliyev, and has 14 active workshops in various regions of Azerbaijan, including regions where carpets have been traditionally woven since ancient times. The production employs 450 weavers of different ages. Azerkhalcha creates and produces modern carpets with traditional classical elements in close collaboration with local and foreign artists and designers, among whom two individuals stand out: the famous Israeli artist Rami Meir and the world-renowned European carpet designer Jan Kath, who is among the 100 significant international designers according to Architectural Digest 2024.
Among the carpets presented at the exhibition are works of art created by the masters of Azerkhalcha, which incorporate elements from ancient classical carpets and are based on the collection of the world-famous Azerbaijani designer and founder of AFFAIR, Rufat Ismayil. In collaboration with contemporary artists, the exhibition features two carpets from the Karabakh group Gasimushaghi from the 44 collection, created with the participation of the creative team of Azerkhalcha and based on the ideas of the Honoured Artist of Azerbaijan, Rashad Alekbarov, reflecting the preservation of historical traditions in modern reimaginings. Also featured at the exhibition is one of the most interesting exclusive collections of limited-edition carpets, Fruits in the Garden. Carpets from this series, made in a 3-D technique, are woven based on the eponymous artistic collection by artist Samira Allahverdiyeva.
Additionally, the exhibition showcases carpets from the Chalabi series, from its classic version to modern interpretations. The Chalabi carpet is one of the brightest and most distinctive carpets from the Karabakh group. One of the earliest Chalabi carpets, dating back to the late 17th-early 18th centuries, was woven during the Safavid dynasty and was once housed in the Museum of Turkish and Islamic Arts in Istanbul. Among the Turkic people, the word Chalabi was also considered an honorary title given to high-ranking officials and nobles. Chalabi is also the name of a large Turkish-origin ethnic group belonging to the Oghuz people, which is widely spread in Turkey, Azerbaijan, Iran, Iraq, and several other Eastern countries. A large medallion – Gyunesh or Chalabi – widely used in Karabakh carpets, is located in the central field of the carpet. This ancient symbol was associated with the sun and divine light spreading its rays in all directions. The carpet stands out with its high-quality weaving, precise compositional structure, and unique colour palette.
The exhibition and its accompanying lectures, seminars, and carpet-weaving master classes have generated significant interest among museum visitors, offering a completely new perspective on the traditional carpet in all its diversity.
Text by Asmar Babayeva
Genetic Code of Memory. Azerbaijani Carpets is on show at Museum of Decorative Arts and Design, Riga, Latvia until 15 September 2024.
Find out more and plan your visit:
www.lnmm.lv/the-genetic-code-of-memory-azerbaijani-carpets