Reading the Sufi Discourse in the Patterns and Design of Heriz Carpets: A Study from the Late 13th to the Late 14th Century

Abstract

Sufism, a fundamental and influential discourse, has left its marks and legacy on Iranian literature and arts. In the intricate, populist, and multifaceted Sufi discourse prevalent in 19th-century Iran, particularly in Azerbaijan, a group of anonymous Sufis seemingly depicted divs and strange creatures on the Heriz silk carpets. “Another World” is the name applied to these carpets at the time, referring to their connection with the realm of jinn and div. Nevertheless, the influence of Sufi discourse on these designs remains largely unexplored. Furthermore, as an applied art, carpet weaving—especially using all-silk materials—is labor-intensive and costly, making the reasons behind the choice of such imagery and the Sufis' affinity for these carpets especially significant. This research aims to understand and analyze the designs of Heriz carpets in relation to Sufi discourse and the trend of div-painting and strange imagery during the study period. It seeks to answer the questions: What was the relationship between Sufi discourse and the designs of Heriz carpets, and how did this discourse shape the visual and symbolic content of the carpets? Given the scarcity of research on these carpets, the necessity and importance of this study in clarifying the hidden aspects and ambiguities related to their symbolic meanings and the communities associated with them are especially noteworthy. This research employs a descriptive-analytical method, with data collected through library, documentary, and fieldwork approaches. Research notes, images, and interviews were used. Over a hundred samples of Heriz carpets were analyzed using content analysis to achieve thematic saturation. The results suggest that Sufi discourse influenced designs of these carpets a also altered their function. These carpets were not produced as mere floor coverings but rather served as visual narratives of the intellectual and ideological system of the community involved, aimed at preserving and expressing esoteric beliefs. They were used to explain the discourse and teachings of Sufis. The visual discontinuity between these carpets and those produced in earlier or later periods reflects the distinctiveness and exclusivity of their designs. Although the historical roots of div and trees—central elements of these carpet designs—can be traced back to pre-Islamic religious beliefs, they were represented extensively and in a manner influenced by the intertwined Sufi discourse of the Qajar era, embedded within the intellectual framework of these Sufis and the visual language of Heriz carpets. Moreover, in the semantic interpretation of these designs, traces of concepts such as the sanctification and symbolic elevation of divs and jinn, the union of humans and div, the transformation of species, the unity of existence in the form of the 'WaqWaq' tree, the connection between Majnun and div and dervish, and the depiction of lion-riding Qalandars can be observed. Additionally, the role of producers from Tabriz, such as Haj Jalili—who was familiar with the foundations of Sufism—and Ganjehei, an active presence in the cultural spheres of Iran and its neighboring regions, is noteworthy in the designs of silk carpets known as 'WaqWaq' and those associated with Anatolian visual traditions.

Keywords

• heriz carpet
• design and pattern
• strange images and devil painting
• sufism discourse