Togrul Jafarli

Email: ToghrulJafarli777@gmail.com

Lecturer at the Department of Fine Arts, Nakhchivan State University

Nakhchivan carpet school is in the neo-Renaissance stage

Recently, as it has been repeatedly mentioned in scientific thought, Nakhchivan is experiencing its neo-renaissance stage. In principle, this is an expression of the attention paid to science and education in our statehood training. The new era, as in all spheres of social life, is manifested in the achievement of new successes in various fields of science. Being one of the leading scientific institutions in Nakhchivan, the emergence of new research works at Nakhchivan State University and the holding of presentations of these works has become a tradition. It is gratifying that the textbook "Nakhchivan carpets and embroidery" by Siddiga Hajiyeva, a senior lecturer at the Department of Fine Arts of the Faculty of Arts of Nakhchivan State University, is a logical continuation of this tradition. In principle, the Azerbaijani carpet reflects the richness of the national spirituality of our people. Nakhchivan carpets are no exception. We see that the Nakhchivan carpets also express the philosophical thoughts, mythology, outlook, dreams and desires of our people through colors, loops, patterns, ornaments in a broad sense. One of the most positive aspects of this book is its monumental structure, the unity of form and content. In this sense, acquaintance with the first page of this book introduces the reader to a new world. This presentation is carried out with the same seriousness until the end of the textbook.

Presented to the scientific community, this book can be evaluated in many ways. In fact, in principle, one of the types of art created by the ancient Turks is carpet weaving. It is true that there are also fundamental research works on carpet weaving. However, in Siddiga Hajiyeva's textbook "Nakhchivan carpets and embroidery" we see that the analysis is based entirely on the ideology of Azerbaijanism, but also at a level that meets modern scientific criteria. The point is that the Azerbaijani carpet is kept in many famous museums around the world as the most valuable example of art. From this point of view, Siddiga Hajiyeva's textbook "Nakhchivan carpets and embroidery" is very valuable from the point of view of dedicating it to an important direction of folk aesthetic thinking. Let's admit that in our time, presenting every scientific work is as important as writing it. Ensuring the interests of the modern reader is an important factor in attracting his attention. From this point of view, Siddiga Hajiyeva's textbook "Nakhchivan carpets and embroidery" was compiled in a special form. Thus, the author tried to keep the transition from general provisions to concrete facts constantly monitored. In other words, in the book we come across numerous photos reflecting the art of Nakhchivan carpet and embroidery, in which the facts about the art of carpet weaving are analyzed by scientific logic, on the basis of which Nakhchivan art criticism is enriched with new scientific provisions.

It is noteworthy that many of the cultural samples of Nakhchivan carpets and embroidery given in the textbook are works of art first studied by Siddiga khanum. We can definitely say that this book is a very valuable work in terms of teaching the secrets of the Nakhchivan carpet school to new generations. With this work, Siddiga Zakir gizi Hajiyeva made a valuable contribution to the scientific history of Nakhchivan carpet weaving.

In the textbook, the author separately discusses the roots of carpet weaving - Gamigaya's descriptions, "From the history of carpet weaving", "Development of carpet art in Nakhchivan", "Dyeing", "Classification of carpets", "Nakhchivan carpets (by regions)", "Ornaments on carpets", “Nakhchivan embroidery (Takelduz, Saya, Gulabatin, Munjuglu, Gurama, Network embroidery)” systematically analyzes the history of Nakhchivan carpet-weaving school from ancient times to the present day, the infiltration of this art from the national thinking of the people and the inculcation of this art into future generations. .

Siddiga Hajiyeva showed the concrete facts that connected the roots of carpet weaving patterns with Gamigaya paintings of Nakhchivan, the center of civilization, that the motifs in Gamigaya paintings are found in many works of art of that time, as well as in our carpets. The author draws attention to the fact that the elements found in Gamigaya's paintings are reflected in the carpet patterns of pictographic and ideographic nature, and directly informs the reader that there are traces of Gamigaya's images at the root of our carpet weaving art. Also, on this basis, the author interpreted the pattern elements in the carpet patterns in the scientific direction of carpet weaving.

One of the main points to note is that the images on the jugs found on the Hunters' Hill in Nakhchivan are at a developed level in the 5th millennium BC. drawings engraved

k was noted.

It was noted that the wheel-falak (four elements) element, which was especially distinguished among these images, was also widespread in the artistic design of Nakhchivan carpets. The author noted that at present, in the village of Makhta, Sharur region, the circular element in the middle part of the lake, which has survived to the present day, is the only carpet in Azerbaijan according to research. And he emphasized that such elements found on other works of art, as well as on carpets, confirm that the Nakhchivan culture began in Gamigaya.

In the section "From the history of our carpet weaving" the author looked at the history of the ancient art of carpet weaving, gave detailed information about the ancient Turkic carpet found in the V mound in the place called "Pazırık" (Basırık) in Altai, the homeland of the ancient Turks. involved in a detailed study of the unity of historiography and art history.

In the section of the textbook "Development of carpet art in Nakhchivan" Siddiga Hajiyeva quoted from the work "Ajaib-ad-dunya" and the treatise "Hudud-al-Alam" and gave a detailed look at the history of development of this art in Nakhchivan. It is possible to conclude that while working on this work, Siddiga Hajiyeva, both historical facts and on the basis of these facts, drew attention to every detail of the Nakhchivan carpet-weaving school and analyzed it in detail.

The book also draws the reader's attention to the important work done in the art of carpet weaving in Nakhchivan, which is experiencing a neo-Renaissance stage of its development due to the direct attention and care of the state, especially visual photographs.

The section of the textbook "Dyeing" notes the views of the Greek historian Herodotus, which showed that weaving and dyeing have a special place in the ancient land of Nakhchivan: These patterns are not erased, they remain until the fabric wears out. Based on these ideas, Siddiga Hajiyeva said that natural dyes obtained from nature not only gave a bright color to carpets and fabrics, but also ensured its durability. The author emphasized that along with the quality of the carpet, its color shades also served the aesthetic perfection. The growth of thousands of dyed plants that make up the flora of Nakhchivan has laid the foundation for the development of dyeing associated with carpet weaving.

The author also points out an interesting point. He pointed out that Nakhchivan artisans used salt as the main raw material to strengthen the dye in dyed yarns. Valuable and useful Nakhchivan salt, which contains 84 minerals, has played an important role in art, as well as influencing the exchange of cultures since ancient times. Thus, while salt was used in other regions of Azerbaijan for tying ropes, salt was mainly used in Nakhchivan.

It was brought to the reader's attention that the richness of Nakhchivan's Julfa region and its surroundings, as well as natural dye plant - dye (marena) and "red beetle" and special valuable insect that gives a very expensive red dye, was one of the factors contributing to the development of carpet weaving.

In the section "Classification of carpets" the author Siddiga Hajiyeva systematically showed the types of carpets included in the Nakhchivan school of carpet weaving in a very simple, clear language. The book gives the reader a unique, unique, unparalleled, masterpiece world of carpets with colorful carpet patterns from beginning to end.

In the section “Nakhchivan carpets (by regions)” Siddiga khanum describes the types, composition, pattern elements, etc. of carpets woven in different regions of Nakhchivan. attracted the attention of the audience and systematically turned it into an object of analysis. A photo of each carpet sample by region, artistic elements on it, etc. Siddiga Hajiyeva was involved in the investigation.

The author says that in the section "Ornaments used in carpet weaving" in the textbook, various information about the motif of ornament on art monuments, its artistic features and content can be found in the works of many medieval Eastern artists and art critics. On this basis, in Iskander bey Munshi's work "Tarihe-alamaraye-Abbasi" ("History of Abbas who decorated the world"), in Gazi Ahmad's treatise on painting and calligraphy, in Sadiq bey Afshar's "Qanun-us-suver" ("Law of images") It is noted in his treatise that the art of ornament, their structure and content are discussed a lot.

Undoubtedly, one of the most important factors that brought the work to the level of grandeur is the interpretation of the sacred number "7" among the ornaments. Of course, among the most important sources in the rich galaxy of talents of Azerbaijan, the famous 16th century miniature artist Sadi 

It is a demonstration of the main form of ornament types "7" mentioned in Bey Afshar's treatise "Qanun-us-suvar" ("Law of Images"). It is noted that they consist of islimi, khatai, lily, firangi (European type), cloud, vag (legendary tree name) and dam rumi (Byzantine net).

One of the interesting points is that for the first time in the textbook, the ornaments were painted by the author on the tree with oil paint, and we are witnessing these works of art, which are distinguished by their special subtlety as they turn the pages of the book.

The last section of the work is called "Nakhchivan embroidery". In this section, all the subtle details, from the ancient embroidery of Nakhchivan to the embroidery patterns developed in modern times, have been included in the textbook with special precision by the author Siddiga Hajiyeva. The author pointed out that the embroidery pattern found during the archeological excavations of the XII-XIII centuries near the ruins of the ruined city of Gilan near Nakhchivan is considered to be the oldest embroidery pattern. There are calligraphic drawings on the canvas, which is counted and candied. The method of filling in the embroidery, in turn, was carried out with various stitches.

Here, for the first time, the author placed in the textbook the works of students of Nakhchivan State University majoring in fine arts, consisting of various embroidery patterns. We are obliged to note that recently the head teacher of the Department of Fine Arts Siddiga Hajiyeva has made an undeniable contribution to the revival of this art. Under his direct leadership, "Carpet weaving" circles began to operate at the Department of Fine Arts, and a serious turn was made in this area. Students were taught different types of embroidery and made a significant contribution to the revival of this art.

Siddiga Hajiyeva's textbook "Nakhchivan carpets and embroidery" also attracts attention with its interesting and eye-catching design. As we have mentioned, the book pays special attention to every detail and meets the needs of the reader as much as possible. We owe it to ourselves to note that Galib Abbasov, a graduate of Nakhchivan State University majoring in architecture and currently head of the Architecture and Construction Department of the Babek District Executive Power, had an undeniable contribution to the development of this interesting design.

Of course, the work done in this area has undoubtedly been possible thanks to the constant attention and protection of our independent state. We believe that as a result of this attention and care, from now on the head teacher of the Department of Fine Arts Siddiga Zakir gizi Hajiyeva and artists and art critics in her example will attract new scientific research works, textbooks, monographs to scientific circulation.