Armenian–Azerbaijani cultural relations

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Armenian ashug Sayat-Nova

Armenian-Azerbaijani cultural relations are relations between two ethnic groups in terms of their language and culture.

History[]

In Soviet times, russification of Baku resulted in creation of Baku city sub-culture uniting the population of Baku, composed of Azeri, Russian, Armenian and other ethnic groups.[1][2][3][4]

Language[]

Knowledge of Azeri language[]

One of the sources for 1836 says that Azerbaijani "is in great use not only between Muslims, but even between Armenians and Jews."[5]

Azerbaijani language was spoken among Tat-speaking Armenian communities. The Armenian population of Kohna Khachmaz and Garajally was Azeri-speaking. Armeno-Tats of Kilvar were often bilingual in Tat and Azeri and historically used the latter to communicate with Armenian-speaking Armenians as late as in 1912. The Iranian scholar B.V. Miller noted that back in 1912 an Armenian priest who did not know the Tat language was forced to preach sermons in Azerbaijani as it was more understandable for the “Armenian-Tat” population of the village Kilvar.[6]

Azeri loanwords in Armenian language[]

Hovhannes Erznkatsi and Prince Aploch

According to Armenian linguist Hrachia Acharian, the connection between Armenian and Azerbaijan languages started in the XI-XII centuries. It is related to migration of Oghuz turks from the south and kipchags from the north. Sources from XII-XIV centuries, especially, the works of Kirakos Gandzaketsi, Frik, Sempad the Constable, Hovhannes Erznkatsi and Yovhannēs Tʻlkurancʻi include more than 200 Azerbaijani and Turkic words.[7]

In the book "Relations of Peter the Great with the Armenian People", commenting on Armenian documents, G.A. Ezov noted that the documents were "written, for the most part, in the spoken Armenian language, overflowing with Tatar (Azerbaijani) words", and they can be used as materials for the study of dialects of Armenian language.[8]

In his 1902 book "The Turkish Loan Words in Armenian", the Armenian linguist and etymologist Hrachia Acharian listed loanwords from the Constantinople, Van, Nor Nakhichevan and Karabakh dialects, which were borrowed from the Turkish and Azerbaijani languages.[9]

According to the linguist and turkologist E.V. Sevortyan, some loanwords of Azeri origin are found in the works of Hovhannes Erznkatsi. As examples of these, Sevortyan includes "verurem" (English: “I give”) and "aldurmush (English: “I was (already) forced to take”), which are found in one of the couplets of the poem “The son of a priest or the daughter of a mullah”. Sevortyan also mentions "yeri, yeri" (English: “to walk or move”) in Azeri, and, possibly, "ayıb" (English: “shame, lack”).[10]

Azerbaijani loanwords are also seen in some Armenian songs of the ashug Sayat-Nova, the meaning of which was explained in I. Mirzoyan's article.[11]

The loanwords such as karyandi and karyanti ("kosa"), found in the Karabakh and Kirzan dialects of Armenian languages, respectively, are back loans from the Azerbaijani language.[12]

Literature[]

Folk and ashug poetry[]

Naghash Hovnatan

Hayren, an Armenian genre of poetry is the same with reading Bayati according to Armenian scientist M.Abeghyan. Vesfi-hal, Azeri genre of bayati related to fortune-telling has similarities with Armenian "can-gulum" in relation to how rituals performed and the volume of poems. Khachatur Abovian, Perch Proshian and Ghazaros Aghayan said that they used vesfi-hald and other forms of ashug poetry performed in Armenian and Azerbaijani folk ceremonies.[13]

Ekber Yerevanli collected Armenian and Azerbaijani fairy tales. He found many similarities between Azerbaijani and Shakamakhi Armenian fairy tales. Armenians had their own versions for Azerbaijani epics such Kerem and Aslı, Ashiq Qarib[14] and Epic of Koroghlu. Armenian David of Sassoun had a lot of common features with Azerbaiani version of Koroghlu.[13]

Many Armenian ashugs wrote both in Armenian and Azerbaijani languages. But some preferred to write only in Azerbaijani. Famous examples include Horomsime Akuletsi, Miran, Seyyad, Miskin Burcu, Hpvakim Markaryan and Shirin. The ustadnameh that Slave Artun was so good that it was included to Azerbaijani epics. According to Hummet Alizade, the first ustadnameh of epic "Novruz" and the second ustadnameh of epic "Tahir and Zohre" belonged to him. Dellek Murad, the Armenian ashug of XVII century wrote qoshma, ustadnameh and qifilbends in Azerbaijani. He was considered ustad (master). Another Armenian ashug Naghash Hovnatan wrote "Mayilem" which was popular among Azeris.[13]

Sayat-Nova wrote 115 poems in Azeri. In addition, there is a poem where quatrains in Azerbaijani are intertwined with quatrains in Armenian, Persian and Georgian. Early 1758 seems to have been a time of feverish activity on the part of Sayat-Nova in the Azeri field. İt is possible that Sayat-Nova performed his songs in this language in public, in and outside Tiflis and Telaviş[15] He continued Transcaucasian ashugs' tradition of writing in Azeri which was well understood by Eastern Armenians.[16] He loved Nasimi just like Armenian ashug Miran did. He devoted 5 poems to Safavid ruler and Azerbaijani poet Ismail I.[13]

Modern literature[]

In 1956, the Azerbaijani poet Mammed Rahim wrote the poem “Sayat-Nova”, in which he reimagined the last days of Sayat-Nova and his tragic death.[17]

Music[]

Azeri music is played among the Armenians, who have adopted the system of mugham and the instruments kamancheh and tar.[18] Azerbaijani tar which was designed by Sadigjan was very popular in Armenia.[19] Moreover, in the 1890s Sadigjan founded a musical ensemble which included prominent folk singers and musicians performing Azeri, Armenian and Georgian folk songs.[20] Two girls participating in ensemble performed Armenian, Azerbaijani and Georgian dances.[21]

According to the 19th century historian Nikolai Dubrovin, Azerbaijani songs were also sung at Armenian weddings.[22] Azerbaijani mugham singer Sattar skillfully performed Armenian and Georgian songs.[23] In a little-known note (Poems. SPb., 1855, p. VII, note) about Sattar, Polonsky says:

Sattar can be heard at Georgian and Armenian weddings, where he is accompanied by musicians. He is accompanied by ... his ... screams, striking the ears of a European with their novelty, giving rise to a strange, disturbing feeling in the soul.[24]

Two nation also shares duduk and zurna, even the same melodies and rhytyms such as well known Sari Aghjik/Sari Gelin, Mejlumi pes/Yar bizə qonaq gələcək, Aman Tello, Alvan varder/Süsən Sünbül and Zov Gisher/Gözəlim Sənsən.[25] Armenian Rabiz music shares similar features with music cultures of Georgia, Azerbaijan or Chechenia in terms of its style and audience. [26] This genre includes the use of Middle Eastern klklot/zengule.[25]

Dance[]

The place of origin for Uzundara dance is Nagorno-Karabakh (also known as Artsakh).[27] In the collection "Azerbaijani folk dances" it is suggested that the Uzundara dance spread among the Karabakh Armenians as a result of living in close proximity to the Azerbaijanis.[28] In turn, the Azerbaijani researcher K. Hasanov noted that “the Armenians also claim the authorship of this dance”.[29]

Ceyrani dance is Azerbaijani and Armenian solo dance.[30] The Armenian version of the dance is widespread in Karabakh and Zangezur.[31]

Mirzayi is an Armenian and Azerbaijani female dance. Traditionally, it is performed in weddings. It can be performed both by women and men. Different Armenian varieties of the dance recorded in Shirak region are also known as Old Mirzayi and Tarakyama-Mirzayi.[32]

Shalakho,[33] Halay and Kochari dances are performed by many nations including Armenians and Azeris. The Armenian Kochari has been included to the List of Intangible Cultural Heritage in Need of Urgent Safeguarding of UNESCO in 2017.[34] Azerbaijani Kochari along with tenzere has been included to the list of Intangible Cultural Heritage in Need of Urgent Safeguarding of UNESCO in November 2018 as versions of Yalli dance.[35] Azerbaijani dance Yally was influenced by Armenian and Kurdish dances.[36]

Visual arts[]

Turkish Islamic art specialist Birgul Achykyldiz claims that the gravestones in the form of rams found in Armenian cemeteries (for example, in Julfa) with Armenian inscriptions and typical Armenian ornaments arose under the influence of the surrounding cultures - Kurdish and Azerbaijani traditions, well known in the region. According to Achykyildiz, zoomorphic gravestones are not typical for Armenian cemeteries, which are most commonly associated with rectangular khachkars.[37] There is also an opinion about the similarity of statues of horses popular in Azerbaijani, Kurdish and Armenian cemeteries with the Oguz custom of putting a stuffed horse over the grave.[38]

According to the Soviet ethnographer S.A.Tokarev, Azerbaijani rugs resemble Armenian ones in many ways.[39] The weavers of Kazakh rugs are probably mostly Azeris, but it is clear that both Armenians and Georgians participated in the production of these rugs.[40] Armenian, Azerbaijani and Dagestani carpets are often grouped as one — Caucasian.[41]

Theatre[]

Poster for Arshin Mal Alan released in US in Armenian

Arshin Mal Alan operetta was translated into many languages including Armenian.[42] Soon after the Baku premiere, the musical comedy is shown throughout the Transcaucasia and Central Asia. In 1916, it was staged in Baku in Armenian.[43] The work was staged in the Armenian language in Tbilisi (1914). Sidrak Magalyan was the translator and musical designer of the production. Later Magalyan played Asker (main character of the comedy) also in Georgian, Azerbaijani and Russian.[44] Armenian composer Aro Stepanyan wrote:

Who else does not know the name of Uzeyir Hajibeyov in Transcaucasia? From an early age, I still remember the stunning success of his popular comedies "Arshin Mal Alan", "Mashadi Ibad" and others, which were staged in all Azerbaijani and Armenian theaters. The melodies of these comedies were sung everywhere, and the performances were a success.[43]

From 1917 to 1922, the Armenian Women's Charitable Society in Tehran regularly organized performances of the operetta "Arshin Mal Alan". They performed it at the Shah's harem, where actresses, specially disguised to play male roles, were carefully checked by eunuchs in order to establish their gender.[45]

From 1923 to 1958, the operetta was staged in almost all of the United States by the cast of the Armenian troupe. It was played on the stages of New York, Philadelphia, Detroit, Chicago, Cleveland, Boston, Racein, Los Angeles, Fresno, San Francisco.[46][44]

Koroghlu was staged in Yerevan in 1942.[47]

Cinema[]

In 1937, Setrag Vartian, the American director of Armenian descent filmed Arshin Mal Alan in Armenian without specifying the author.[48] In 1960, director Nader Hafezi filmed an operetta in Iran. The main role in the film was played by Vigen Derderian? the Iranian pop singer of Armenian origin Vigen Derderian.[49]

1988 Ashik Kerib film by Dodo Abashidze and Sergei Parajanov was based on an Azerbaijani legend record by Mikhail Lermontov. The music of film was composed by Javanshir Guliyev and performed by Alim Gasimov. Film uses both mugham and ashig music of Azerbaijan. It includes the poetry of Ashig Alasgar, Aşıq Pəri and Aliagha Vahid.[50] Sergei Parajanov also used Azeri poem of Sayat Nova in Arabic script in his The Color of Pomegranates movie.[51]

Religion[]

Baba-Hadji Mausoleum is Islamic Mausoleum and shared Armenian-Azerbaijani pilgrimage site. Prior to the Nagorno-Karabakh conflict, a mullah occasionally came over from Azerbaijan to lead prayers. Additionally, an Azerbaijani lived permanently near the shrine and collected donations for its upkeep.[52]

Architecture[]

Khachin-Darbatli Mausoleum on Azerbaijani stamp

Many Islamic Mausoleums, Mosques, and other monuments in the Karabakh region of Azerbaijan that were built after the 14th century show Armenian influences in their architecture.[53] The Khachin-Darbatli Mausoleum was built in the 14th century in the Agdam district of Azerbaijan in the historical Karabakh region. Many art and architecture historians such as Samvel Karapetyan, Patrick Donabédian, Leonid Bretanitski and Boris Vejmarn note the distinct similarities between this mausoleum and the Armenian Yeghvard Church built thirteen years earlier.[54][55] According to Donabédian, the two structures exhibit mutual influences of Christian and Islamic art.[56] Architectural researcher Raffi Kortoshian asserts that Inscriptions on both the structures demonstrate that they were built by the same Armenian architect, Vardapet Shahik. The name of the Khachin-Darbatli Mausoleum also reveals the Armenian influences. According to Azerbaijani researcher Cavid Aga, the first part of the name incorporates the name of the medieval Armenian Principality of Khachen. Azerbaijani scholar Elchin Aliyev acknowledges the Armenian influences in these mausoleums and cites them as important tools in repairing the cultural relations of the two nations.[57]

See also[]

References[]

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  18. ^ Encycclopaedia Iranica. Azerbaijan. XI. Music of Azerbaijan.: «The Iranian elements in the development of the Azeri tradition were numerous, as is shown by modern terminology (čahār meżrāb, bardāšt), as well as by certain pieces in the repertoire, recent gūša and maqām that have Iranian names (Bayāt-e Šīrāz, Šūštar, Delkaš, Šekasta-ye Fārs, Bayāt-e Qājār). Conversely, Azerbaijani elements are found in Iranian music, particularly in dance pieces (reng). (See also M. Rezvani, Le théâtre et la danse en Iran, Paris, 1962, p. 149.) Azeri art music is also played in other regions of the Caucasus, especially among the Armenians, who have adopted the system of maqām and the instruments kamāṇča and tār.»
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  22. ^ Н. Дубровин. II // История войны и владычества русских на Кавказе. Закавказье. — С.-Петербург, 1871. — Т. I. — С. 417.
  23. ^ Сәттар / Под ред. Дж. Кулиева. — Азербайджанская советская энциклопедия: Главная редакция Азербайджанской советской энциклопедии, 1984. — Т. VIII. — С. 399.
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  25. ^ a b "'Songs of the enemy': The shared melodies that connect Armenians and Azerbaijanis". Leon Aslanov. 26 January 2020. Retrieved 5 December 2020.
  26. ^ Leupold, David (1 September 2018). "The Echoes of the Disappeared: Rabiz Music as a Reverberation of Armenian-Azerbaijani Cohabitation". Caucasus Edition. Retrieved 8 August 2020.
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  28. ^ Алмасзаде и др., 1959, с. 6: «Например, очень популярный в Азербайджане женский танец «Узундара» широко распространён и в Армении. Это объясняется тем, что, будучи танцем невесты, танец «Узундара» зародился в Карабахе. Узундара — название длинного ущелья в Карабахе. В своё время по этому ущелью провожали невесту. Известно, что в Карабахе вместе с азербайджанцами живёт много и армян. Естественно, что благодаря этому танец «Узундара» широко распространён и среди армянского народа.
  29. ^ Гасанов, 1978, p. 9: «Армяне также претендуют на авторство этого танца. Это объясняется тем, что в Карабахе, где находится ущелье Узундэрэ, живет много армян».
  30. ^ Касимов К. А. Народы Азербайджанской Советской Социалистической Республики. Азербайджанцы. Народное творчество. Народные танцы / Под редакцией Б.А.Гарданова, А.Н.Гулиева, С.Т.Еремяна, Л.И.Лаврова, Г.А.Нерсесова, Г.С.Читая. — Народы Кавказа: Этнографические очерки: Издательство Академии наук СССР, 1962. — Т. 2. — С. 161—163.
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  34. ^ "Kochari, traditional group dance". UNESCO. Retrieved 5 December 2020.
  35. ^ "Yalli (Kochari, Tenzere), traditional group dances of Nakhchivan - intangible heritage - Culture Sector - UNESCO". ich.unesco.org. Retrieved 2018-11-29.
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  38. ^ Президюм АН. Казахской ССР. Вестник, Выпуски 7-12. — Издательство Академии наук Казахской ССР, 1986. — С. 77.
  39. ^ С. А. Токарев //Этнография народов СССР: исторические основы быта и культуры // Изд-во Московского университета, 1958 г. стр-ца 299 (615)
  40. ^ Britannica Encyclopedia. Kazakh-rugs.

    Kazakh rug — floor covering woven by villagers living in western Azerbaijan and in a number of towns and villages in northern Armenia and the adjacent southern part of Georgia. The weavers are probably mostly Azerbaijanian Turks, although it is clear that both Armenians and Georgians have taken part in the production of these rugs. Kazakh rugs are all wool, coarsely knotted in the symmetrical knot with a long, lustrous pile, and use strong red, blue, and ivory in bold combinations with relatively simple but dramatic designs. The rugs seldom exceed about 1,7 × 2 metres (5.5 × 7 feet), and many of the smaller pieces are in prayer rug designs. Many show three medallions of approximately equal size, while another common format involves a central square enclosing geometric figures with two smaller squares at each end.
  41. ^ Н. А. Абдуллаева. Ковровое искусство Азербайджана. — Баку, «Элм», 1971 — стр. 4

    «Все эти авторы, не делая различий между отдельными группами, объединяли азербайджанские, дагестанские и армянские ковры в одну общую группу — кавказскую (…) Вся позднейшая литература зарубежных и советских исследователей, посвящённая истории коврового искусства стран Востока, уделяет очень мало внимания азербайджанским коврам, часто смешивая их с иранскими, турецкими, дагестанскими и др.»
  42. ^ Узеир Гаджибеков. Избранные произведения. Публицистика и драматургия / Составитель, автор примечаний и переводчик Кубад Касимов. Редактор Мирза Ибрагимов. — Б.: Элм, 1985. — 300 с.
  43. ^ a b Абасова Э. Узеир Гаджибеков / Под ред. Л. В. Карагичевой. — Б.: Азербайджанское государственное издательство, 1975. — 142 с.
  44. ^ a b Азизбекова С. О постановках «Аршин мал алан» на армянском и грузинском языках // Известия АН Азербайджанской ССР. Отдел литературы, языка и искусства. — 1978. — № 1. — С. 81—85.
  45. ^ Hamid Naficy. A Social History of Iranian Cinema, Volume 1: The Artisanal Era, 1897—1941. Duke University Press, 2011, с. 110.
  46. ^ Атакишиева Л. И. О сценической жизни музыкальной комедии Уз. Гаджибекова «Аршин мал алан» // Доклады Национальной академии наук Азербайджана. — Б., 2004. — Т. LX, № 5—6.
  47. ^ Опера "Кероглу". Электронная энциклопедия Узеира Гаджибекова. Дата обращения: 18 июня 2010.
  48. ^ Alan Gevinson. American Film Institute Catalog. Within Our Gates: Ethnicity in American Feature Films, 1911-1960. — University of California Press, 1997. — С. 54. — ISBN 0520209648, 9780520209640.
  49. ^ Arshin mal-alan (1960). IMDB.
  50. ^ James Steffen (2013). The Cinema of Sergei Parajanov // (The University of Wisconsin Press). United States of America.
  51. ^ "'Düşmanın şarkıları': Ermeniler ile Azerileri birbirine bağlayan ezgiler". agos.com.tr. Retrieved 5 December 2020.
  52. ^ Maxim Edwards (19 November 2013). "Baba-Hadji, symbol of ethnic harmony". opendemocracy.net.
  53. ^ Karapetyan, Samvel (2010). The Islamic Monuments of the Armenian Architecture of Artsakh (PDF). Yerevan: Research on Armenian Architecture. ISBN 978-99941-875-5-3.
  54. ^ Karapetyan, Samvel (2001). Armenian Cultural Monuments in the Region of Karabakh (PDF). Vol. 3. "Gitutiun" Publishing House of NAS RA. ISBN 9785808004689. The style, execution technique, and artistic features of the heraldic scenes cut in low relief around the niches of interior walls (bulls, tigers, other animals) are similar to the reliefs of the western façade of Surb Astvatzatzin (the Holy Virgin) church in Yeghvard.
  55. ^ L. S. Bretenitsky, B. V. Weimarn. Art of Azerbaijan IV-XVIII centuries. - M., 1976. Pp. 137-141
  56. ^ Chorbajian, Levon; Donabedian, Patrick; Mutafian, Claude (1994). The Caucasian Knot: The History and Geopolitics of Nagorno-Karabagh. Zed Books. ISBN 9781856492881. The [Muslim] mausoleum at Khachen-Dorbatly (1314 [Mongol period]), not far from Aghdam, reveals a great similarity in sculpted décor to an Armenian funerary church of the same period, the chapel at Yeghvard.{{cite book}}: CS1 maint: multiple names: authors list (link)
  57. ^ Simon Maghakyan (February 28, 2021). Hrag Vartanian (ed.). "Can Islamic Shrines' Connection to Armenians Transform Azerbaijani Politics of Erasure?". Hyperallergic. Retrieved October 20, 2021. {{cite magazine}}: Cite magazine requires |magazine= (help)
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