The work’s unique form, color harmony, composition structure, the materials and elements used have numerological meanings as well as symbolic meanings.

The tree form of the work represents family or generation. The roots of the tree represent “our heritage,” that is, our past, the trunk represents “us,” that is, our present, and the branches represent “future generations.” The carpet composition therefore forms the full trunk of the tree.

The pomegranate fruit is a symbol of unity in my view. Therefore, the pomegranate motif in the border represents the people or the country. The crown of the pomegranate represents the state and the seeds represent the citizens. The pomegranates are frequently repeated in the border, symbolizing the close interconnectedness and unity of the peoples. The interior decoration of the pomegranates signifies “folk culture”. Since each people has its own culture, each pomegranate is decorated differently.

 “We are as different as we are one, and as one as we are different.”

The four pomegranates placed at the corners of the border represent the seasons of the year. For this reason, the color scheme of each one is different in accordance with the seasons.

In the intermediate section, a figure resembling one of the Qobustan rock-cut human figures, transformed into a geometric form, is used. This figure forms both the main ornament of the intermediate section and the background. The color of the human figure in the background is given in a shade reminiscent of the color of the rock to remind the ancient painter’s painting on the rock. Thus, I have tried to depict human figures by distinguishing between the depictions of “people” by the painters of the past and the painters of today. The reason why I, as a painter of today, depict the inside of people in three colors is that these colors have an abstract meaning for me: red – struggle, white – science and knowledge, blue – art.

The colors in the human figures depicted in three colors are distributed in such a way that each figure is not the same as the others. The reason for this is that people’s determination to struggle, knowledge and skills are different from each other.

A ketebe pattern is placed between the people. The pattern that forms the inside of the ketebe is a stylized uniform of the element of fire. This element is the symbol of the land of fire. In addition, the flame or hearth, as an element that gathers people around it today, especially during the Novruz holiday, expresses the meanings of “hospitality” and “warmth”.

In the annotation, the number of pomegranates is set at forty, with pomegranates placed in the corners, representing the seasons. The painter tried to express “a lifetime” with this number. This meaning is related to the importance of the fortieth day and the special commemoration of this day after a person is born and when he leaves the world.

The purpose of showing the “human depiction” of the artist of the past in one color and the “human depiction” of the artist of today in three colors in the intermediate part is to hide the numerological meaning with these numbers.

Humans have spread and multiplied on the surface of the earth, struggling from ancient times to the present day. They have improved their culture through art and their living conditions through science. Therefore, we can conclude that there has been an increase from the past to the present. For this reason, the artist tried to obtain the number “thirty-one” by evaluating the number of colors in human depictions with the decimal number system: one color of ancient man represents the number one, and three colors of modern man represent the number thirty. The total number of depictions of modern man is twelve. This number represents not only twelve months of the year. Here the numbers thirty-one and twelve are related to each other. These figures represent the twelfth month and the thirty-first of the month, i.e. “December 31 – DAY OF SOLIDARITY OF AZERBAIJANIANS OF THE WORLD”. For this reason, the last three of the figures of “modern man” are placed in the lower part of the carpet – towards the roots of the tree, up to the water part of the inscription, removing them from the frame of the intermediate part. The explanation for this placement: unity does not only exist within a frame. That is, it expresses the unity that we display regardless of any group to which it belongs, be it internal or external, race, religion, breed, etc. By placing these human figures, not in the other parts of the hashiya, but especially between the lower corners, protruding above the hashiya, the artist’s aim is to express that “the understanding of unity is connected to our roots” and is a legacy from our ancestors.