Many of the carpets that we think of as “Caucasian” or even more simply as “Oriental,” are in fact from Azerbaijan. Despite this great misunderstanding and a general lack of knowledge among citizens of the United States concerning Azeri carpets, carpet making has played a significant role in Azerbaijan’s own culture and identity, as well as the larger culture and identity of oriental rugs.

Carpets have been a defining element of Azerbaijan’s culture long before the country’s modern borders were defined. Indeed, archeological findings confirm that carpet related products have been produced in Azerbaijan since at least the 2nd millennia BCE. The ancient production of carpets within Azerbaijan has been additionally confirmed by the writings of the many who recorded their visit to the country throughout history. From ancient Greek historian Xenophon to Venetian traveller Marco Polo, a student of Azerbaijani carpets can ascertain the influence, beauty and ubiquity of the creations. Carpets were also frequently referenced in Western European paintings and Azerbaijan’s own national literature, speaking to the national and international cultural significance of the rugs.

Today, Azerbaijani carpets are part of the UNESCO List of Intangible Cultural Heritage, but they have always been significant as both a luxury object and an everyday item. Since ancient times, the number of quality carpets a family had was a sign of their wealth. Holding great monetary value and suggesting prestige, in the Middle Ages the local population paid their taxes with carpets and the royalty gifted them to rulers of other states. But carpets were and continue to be more than a luxury object. One of the most important items of everyday life, the Azerbaijani people not only weave carpets but also sit on them, pray on them, eat on them and drape them over their furniture and walls, for warmth and decoration.

Carpet making has always been well integrated into Azerbaijan’s society, existing as a point of pride, a defining element of culture, and a source of income for many. However, certain processes of rug production have not only helped shape Azeri culture, but also speak to the qualities inherent within the people who produce them and the land where they are produced. The process of preparing the wool so that it may be converted into yarn, dyed, and eventually woven into a carpet, for example, is quite labor intensive and was fulfilled with the help of close relatives and neighbors. Called imajilik, this type of mutual help is quite typical of the country. It is not just the people that are fit for carpet making, but the land too, possessing rich flora and numerous plants with qualities that make them capable of creating dyes. The stability and beauty of these natural dyes have won Azerbaijani carpets international fame. It is not just Azerbaijan that is suited for carpet making; carpet making is suited for Azerbaijan.

Post Written by Kelsey King, Karabakh Foundation Program Officer

Additional Sources

“Azerbaijan Carpets.” Ministry of Culture and Tourism of the Republic of Azerbaijan, 2010. Web. 20 May 2011.

“The Development of Carpet Weaving in Azerbaijan.” The Azerbaijan Carpet Museum. Web. 20 May 2011.

“The Traditional Art of Azerbaijani Carpet Weaving in the Republic of Azerbaijan.” UNESCO. Web 13 June 2011.

Azerbaijan’s long and complex history is often mirrored in its rich culture. If there is one aspect of Azerbaijani culture that reflects the mystery and complexity of Azerbaijan’s society, it is music. The country’s folk music is indeed unique, while still reflecting influences from Persian, Turkish, Arab, and other Caucasian folk music. Though there are several forms of Azerbaijani music, none, perhaps, are as famous as mugham. It has taken centuries for mugham to develop and the beloved art form has seen deep changes take place particularly within the last century. Pure mugham is still performed today, but many artists have chosen to blend it with other forms of music.

Closely related to Turkish, Arabic and Persian maqam, mugham is a modal form of music based on improvisations from preexisting melodies. There are several forms of mugham, often specific to a region or a cultural event. This form is highly complex and has undergone centuries of evolution. The instruments used in mugham are often related to those used in countries and regions with cultural and historical ties with Azerbaijan. The balaban, kamanche, tar, and daf are some of the typical instruments used in mugham. The tar is similar to a lute, and originated in Persia, but has been adopted by Azerbaijani folk music. The balaban is a wind instrument, which is related to other woodwind instruments ranging from Russia to Iran. An example of percussion used would be the daf, which is similar to a tambourine. Though these instruments and other traditional instruments are used in traditional mugham, the music form has undergone significant evolution in the past century.

Since the early 20th century, mugham has been blended with several modern and Western forms. Uzeyir Hajibeyov famously and beautifully blended mugham with opera by using its instrumentation and certain elements of the form in tangent with Western instruments and the opera form. Hajibeyov was also a key figure in preserving mugham during the Soviet era. He published basic teachings on the subject, which are still used to teach mugham to this day. Azerbaijan also experienced a jazz age, in which mugham was blended with jazz. Vagif Mustafazade is the man responsible for first creating jazz mugham. A talented pianist, Vagif blended elements from mugham (bringing its modal scales) into jazz compositions. The blending of traditional Azerbaijani music with jazz is a very logical one as both have a heavy reliance on improvisations. In recent decades, mugham has been fused with many varieties of popular music in Azerbaijan.

Throughout history, mugham has undergone constant changes, be it from a technical standpoint, or as a result of the political realities facing Azerbaijan. In the 20th century alone, mugham has changed considerably. In order to preserve the form, musicians have successfully blended mugham with classical, opera, and jazz. As a result of this diversification, mugham will be available for future generations to appreciate, and perhaps allow them to of their own.

Post Written by Andrew Loughery, Karabakh Foundation Intern

Additional Sources

Aliyeva, Farah. “Music Runs in the Family: Famous Musical Families of Azerbaijan.” Winter 1997. Web. 14 May 2011.

Safarova, Zemfira. “Ancients: Hypotheses of Early Azeri Scholars.” Winter 1997. Web. 14 May 2011.

Samadoglu, Vagif. “The Emergence of Jazz in Azerbaijan: Vagif Mustafazade: Fusing Jazz With Mugam.” Azerbaijani International. Winter 1997. Web. 14 May 2011.