Analysis of information sources in references of the Wikipedia article "Тебризский ковёр" in Russian language version.
The identification of the court carpets of the early 16th-century Ṣafavid shahs who made Tabrīz their capital is no longer as simple as it once seemed.
The Ṣafavid dynasty was founded by Esmāʿīl I (1501-24). The art of this dynasty reached its zenith during the reigns of Ṭahmāsp (1524-76) and of ʿAbbās I (1588—1629). This phase of the Ṣafavid period also marked the last significant development of Islāmic art in Iran, for after the middle of the 17th century original creativity disappeared in all mediums. Rugs and objects in silver, gold, and enamel continued to be made and exhibited a considerable technical virtuosity, even when they were lacking in inventiveness.
Karaja rug — floor covering handmade in or near the village of Qarājeh (Karaja), in the Qareh Dāgh (Karadagh) region of Iran just south of the Azerbaijan border, northeast of Tabrīz. The best-known pattern shows three geometric medallions that are somewhat similar to those in Caucasian carpets. The central one has a latch-hooked contour and differs in colour from the others, which are eight-pointed stars.
Heriz carpet — floor covering handmade in any of a group of villages near the town of Herīs, lying east of Tabrīz in northwest Iran. Heriz carpets—primarily room-sized, stout, serviceable, and attractive—have found ready markets in Europe and the United States. They are an offshoot, apparently, of the Tabrīz carpets, a country version of city styles. The smooth curves and flowing lines of a sophisticated Tabrīz medallion system are translated into hard, geometric angles and broken contours. Repeat patterns occur less frequently, and a jagged vine and rosette border is characteristic. Different phases of this production and individual subvarieties have been sold in the West under specific village names, such as Sarāb (or Serapi), which has light, rather bright colour schemes; Gorevan, in darker colours; Bakshāyesh; and Mehrabān. Heriz carpets are symmetrically knotted on a cotton foundation. From time to time there has been experimentation in the production of silk rugs—again influenced by the Tabrīz rug trade—in rather crude designs and bold colours. Heriz carpets as here described do not predate the mid 19th century, at which time they apparently supplanted a rustic production for local use.
That carpets were used and produced in Persia in the 8-9th/14-15th centuries has nonetheless been inferred from written sources, both contemporary and slightly earlier (e.g., Barbaro and Contarini, p. 119; Erdmann, 1962, p. 18; idem, 1977, p. 14). The existence of carpets and weavings from contemporary Anatolia and the Turkman tribal confederations, and possibly also from Egypt and even Spain (Spuhler, 1978, pp. 27-32; Helfgott, pp. 107-14), permits the inference that carpets were being produced in Persia as well. Finally, it has been argued that «the finest surviving knotted carpets . . . of the Safavid dynasty . . . could not have originated spontaneously» (Spuhler, 1986, p. 698).
В 1893 году лондонский Victoria and Albert Museum приобрел самый знаменитый из сохранившихся азербайджанских ковров, известный в науке под названием «Шейх Сафи» за 2 тысячи 500 фунтов стерлингов. «Шейх Сафи» был соткан в 1539 году в Тебризе (Персия) по заказу шаха Тахмасиба для Ардебильской мечети. Тем не менее, когда музейщики узнали, что большие участки ковра повреждены и заменены кусками из другого ковра (который находится сейчас в Los Angeles Country Museum of Art), они сочли, что за ковер переплатили.
That carpets were used and produced in Persia in the 8-9th/14-15th centuries has nonetheless been inferred from written sources, both contemporary and slightly earlier (e.g., Barbaro and Contarini, p. 119; Erdmann, 1962, p. 18; idem, 1977, p. 14). The existence of carpets and weavings from contemporary Anatolia and the Turkman tribal confederations, and possibly also from Egypt and even Spain (Spuhler, 1978, pp. 27-32; Helfgott, pp. 107-14), permits the inference that carpets were being produced in Persia as well. Finally, it has been argued that «the finest surviving knotted carpets . . . of the Safavid dynasty . . . could not have originated spontaneously» (Spuhler, 1986, p. 698).
The identification of the court carpets of the early 16th-century Ṣafavid shahs who made Tabrīz their capital is no longer as simple as it once seemed.
The Ṣafavid dynasty was founded by Esmāʿīl I (1501-24). The art of this dynasty reached its zenith during the reigns of Ṭahmāsp (1524-76) and of ʿAbbās I (1588—1629). This phase of the Ṣafavid period also marked the last significant development of Islāmic art in Iran, for after the middle of the 17th century original creativity disappeared in all mediums. Rugs and objects in silver, gold, and enamel continued to be made and exhibited a considerable technical virtuosity, even when they were lacking in inventiveness.
Другой уникальный ковёр, относящийся ко времени расцвета тебризской художественной школы, находится в музее Польди-Пеццоли (Милан). По характеру рисунка он является так называемым охотничьим ковром. По полю ковра, обрамленному широким бордюром, среди цветочного узора размещены фигурки скачущих охотников, поражающих стрелами и копьями ланей или сражающихся с хищными зверями, а также отдельные изображения стремительно бегущих животных. Динамизм деталей не нарушает общей композиционной гармонии, строгой симметрии узора и декоративной уравновешенности красочной гаммы ковра, построенной на контрастном сочетании крупного красного медальона и темноинего поля, покрытого тонким полихромным узором. Надпись в медальоне сообщает дату изготовления ковра—-1542/43 год и имя мастера Гийяс ад-Дина Джами.
Karaja rug — floor covering handmade in or near the village of Qarājeh (Karaja), in the Qareh Dāgh (Karadagh) region of Iran just south of the Azerbaijan border, northeast of Tabrīz. The best-known pattern shows three geometric medallions that are somewhat similar to those in Caucasian carpets. The central one has a latch-hooked contour and differs in colour from the others, which are eight-pointed stars.
Среди азербайджанских ковров, хранящихся в крупнейших музеях мира и неоднократно воспроизводящихся как в специальных выставочных, так и рекламных каталогах, заслуженной известностью обладает замечательный ковер «Шейх-Сефи» из Ардебильской мечети (Музей Виктории и Альберта в Лондоне). Дело не только в его размерах, по тому времени незаурядных — 5,34X10,51 м. Специально сотканный для этой мечети «рабом божьим Максудом Кашани» в ковроткацких мастерских Тебриза, он наделен присущими азербайджанским коврам чертами, но индивидуально интерпретированными.
Heriz carpet — floor covering handmade in any of a group of villages near the town of Herīs, lying east of Tabrīz in northwest Iran. Heriz carpets—primarily room-sized, stout, serviceable, and attractive—have found ready markets in Europe and the United States. They are an offshoot, apparently, of the Tabrīz carpets, a country version of city styles. The smooth curves and flowing lines of a sophisticated Tabrīz medallion system are translated into hard, geometric angles and broken contours. Repeat patterns occur less frequently, and a jagged vine and rosette border is characteristic. Different phases of this production and individual subvarieties have been sold in the West under specific village names, such as Sarāb (or Serapi), which has light, rather bright colour schemes; Gorevan, in darker colours; Bakshāyesh; and Mehrabān. Heriz carpets are symmetrically knotted on a cotton foundation. From time to time there has been experimentation in the production of silk rugs—again influenced by the Tabrīz rug trade—in rather crude designs and bold colours. Heriz carpets as here described do not predate the mid 19th century, at which time they apparently supplanted a rustic production for local use.
Уникальным был и ковер, фрагмент которого хранился в частном собрании в Будапеште (илл. 121). В крупном по размеру центральном медальоне выткана придворная сцена: группа людей, расположившихся вокруг садового павильона, за которым видны ветви деревьев с сидящими на них птицами. Фигурки придворных по трактовке близки миниатюрам Султана Мухаммеда 1530—1540 годов. Это позволяет отнести ковер к первой половине XVI века и предположить, что рисунок для него создал если не сам Султан Мухаммед, то кто-либо из его художественной мастерской. В отличие от миланского ковра медальон будапештского имеет синий фон; по контрасту с ним остальное поле ковра сделано светлым и заполнено изображением ветвистых деревьев, птиц, ланей, тигра, напавшего на быка, и др.
Богатейшим ландшафтом со стройными кипарисами, весенними цветущими деревьями и снующими между ними зверями и птицами представляется композиция тебризского ковра, хранящегося в Музее декоративного искусства в Париже. Красочная гамма ковра, не столь контрастная, как обычно, построена на сочетании теплых охристых, красных и коричневых тонов. По мотивам узора, в котором отсутствуют фигурки охотников, этот ковер относится к группе «звериных».
