Artsakh carpets as historical memory: Culture, identity and the struggle against oblivion

2026-02-10 - 20:56

Today, as the tangible and intangible heritage of Artsakh faces the threat of erasure, carpets remain among the most resilient carriers of historical memory. They are silent witnesses, passed down from generation to generation — often through displacement, war and violence. Armenian carpet weaving forms a cultural system rooted deep in history, one in which material practice and spiritual meaning are inseparable. Within this system, the Artsakh carpet-weaving tradition occupies a distinct place, marked by layered symbolism, ritual meaning and a strong capacity to preserve historical memory. In Artsakh, carpets carried family, communal and national identity, shaping everyday life as well as collective consciousness. Among the carpet-weaving centers of Historical Armenia, Artsakh stands out not only for the diversity of its carpet types but also for the depth of their genealogical origins. Dozens of types, hundreds of variations, a clearly articulated artistic language and a coherent symbolic system place Artsakh carpets at the core of Armenian carpet art. For decades, some research platforms have advanced claims that Artsakh’s carpet-weaving culture developed under the influence of nomadic tribes or was imported from Asia Minor. Armenian ethnographer and art historian Ashkhunj Poghosyan rejects these interpretations, drawing on decades of research. “In Armenia, and particularly in Artsakh, carpet-weaving culture existed even before the Arab and Seljuk invasions, and there is no basis for linking it to any Eastern infiltration,” Poghosyan tells the Weekly. His conclusions rest on a wide range of sources, including medieval manuscripts, material evidence and long-term ethnographic fieldwork. In the Early and High Middle Ages, Armenian carpets became highly sought-after commercial goods. Arab sources describe carpets brought from local villages being sold in markets near Artsakh,indicating both the scale of production and its reputation for quality. One of the oldest surviving examples of Artsakh carpet weaving is the “Yerrakhoran” (Tri-Apsidal) carpet, woven in 1202 and bearing an Armenian inscription with a dated memorial text. It is considered among the earliest securely dated examples of Armenian carpet art. “‘Yerrakhoran’ is significant not only because of its antiquity, but also because it bears an inscription — an exceptional phenomenon in carpet art,” Poghosyan emphasizes. Its composition, with a three-column, three-apse structure, radiant ornamental motifs and a carefully organized central pictorial system, reflects a mature artistic tradition already established by the 13th century. Within Armenian culture, carpets held ritual and ceremonial significance from early times. The act of weaving itself followed ritual patterns: apprentices and community members gathered around the master weaver, and the work was often accompanied by song. In this setting, the weaver assumed a guiding role that extended beyond craftsmanship. A central branch of Artsakh carpet weaving is the tradition of dragon carpets, widely spread across the Armenian Highlands. In these works, the dragon appears as a symbol of victory and protective power. Poghosyan argues “the genealogy of dragon carpets should be examined within the cultural environment of the Armenian Highlands, particularly within the carpet-weaving centers of Artsakh and Syunik.” These carpets reflect the ideological depth and artistic sophistication of medieval Armenian carpet art. In Armenian carpet art, the dragon carries a meaning distinct from many folkloric narratives. Rather than embodying evil, it functions as an apotropaic and protective figure. “In Armenian carpet art, the dragon appears as a protective symbol,” Poghosyan explains, pointing to a symbolic framework rooted in Armenian cultural thought. The “Guhar” dragon carpet, woven in 1680 and bearing an Armenian inscription, offers a striking example of this tradition. Its paired dragon motifs form a complex, rhythmic structure that Poghosyan describes as the “Guharyan composition.” Such carpets circulated widely in Artsakh and Syunik, underscoring long-standing cultural ties between the two regions. Click to view slideshow. In Artsakh, carpet weaving was never an isolated individual practice. It was a communal activity, accompanied by songs, rituals and ceremonies. Apprentices and relatives gathered around the master weaver, and the work process was often guided through song. By the second half of the 19th century, carpet weaving had become a widespread occupation. Ethnographer Yervand Lalayan records that in the Shushi district, carpets, flatweaves and horse coverings were produced in nearly every household. “Carpets of the 19th and 20th centuries clearly carry the traditions of the 13th through 18th centuries — from the quality of the yarn to the dyes used,” he notes. Artsakh carpet-weaving traditions also left a visible imprint beyond the borders of Historical Armenia, particularly in the southeastern Caucasus. This diffusion has often led to confusion around questions of origin and attribution. Poghosyan attributes these overlaps to long-term demographic processes, including the sustained presence and cultural activity of Armenian communities in Shirvan, Shaki and Derbent. “Similarities between carpets cannot be accidental; they are the result of cultural continuity,” he says. The study of Artsakh carpet weaving is not merely a revelation of the past. It is a struggle against oblivion, a means of preserving identity and a record of cultural continuity. As Ashkhunj Poghosyan observes, “a carpet is a historical document.” And it is precisely these documents that today, more than ever, require recognition, preservation and accurate representation.