Azerbaijani costumes for girls. Azerbaijani national clothes. Women's national costume

In the 17th century, there was to some extent a specialization of cities in Azerbaijan
for the production of fabrics, which continued in the future.

Children's costume for girls. Baku. 19th century

For example, in the city of Tabriz the production of a wide variety of
quality of fabrics. He was especially famous for velvet, satin, red and motley fabrics.
The skilled weavers-artisans of Nakhichevan produced many cheap but beautiful
and good quality cotton fabrics.
The following fabrics were produced in Azerbaijan: zarbaft, brocade, satin, taffeta, canaus,
damask, muslin, velvet, darai, makhud, shawl, tirmya, motley, calico, calico, etc.

Children's suit for a boy. Sheki. Early 19th century

The style of the suit reflected the marital status and age of its owner. Girl costume
noticeably different from the costume of a married woman. Dressed most brightly and elegantly
young women. Girls and older women wore significantly less jewelry.
Children's clothing is identical in shape to the costume of adults, it was different from it
size and some features caused by the age of its owners.

If women's clothing was made mainly of silk and velvet, then for men's clothing
they used mainly makhud - locally produced or imported cloth, as well as
shal - homespun woolen fabric. Underwear, both women's and men's, was sewn
from linen and cotton fabrics; sometimes in rich families the undershirts were silk.

Men

Men's costume, like women's, was basically the same in all historical
ethnographic zones. National clothes of Azerbaijani men can also be
divided into lower (body) and upper - shoulder and waist.
The outer clothing of the Azerbaijanis consisted of mouth koynyayi (shirt), arkhalyg,
chukha (shoulder garment) and shalwar (waist garment).

Men's suit. Shusha. 19th century

ARKHALYG- Men's upper shoulder clothing; cut-off, gathered at the waist into a small
gathering or folding. The sleeves are straight, tapering downwards. The arkhalyg fit snugly to the waist
to the body. Over the arkhalyg, young people wore leather belts - gayysh or silver
stacked belts - kamyar, and the old people wrapped their waists with gurshag - a piece of rectangular fabric
4-6 meters long. For gurshag they used expensive fabrics - tirmya, shawl, brocade, etc.

SHALWAR- refer to men's upper waist clothing. They consist of two straight lines
tapering legs. A triangular clip was inserted into the inguinal seam. Shalwar at the waist
tied on a fog bagi - a braided silk cord threaded into a bodice - holding

KURK- men's winter outerwear. This is a sheepskin coat with fur inside, without
fasteners, with collar. Kirk below the knees. Khorasan was worn in cities and shopping centers
kyurkyu - a fur coat made of yellow tanned leather with embroidered patterns. Peasant shepherds in the mountains
they wore yapyndzhi - burka.

FUCK- another type of upper men's shoulder clothing. It was cut off at the waist
it was folded or assembled into an assembly. The chest remained open, and from under
Chukha could see Arkhalyg.
An obligatory attribute of the chukha knitting was vyaznya - gozyri, which were located with
both sides on the chest. Vyazna initially served as nests for cartridges, later
During the evolution of the costume, they acquired a purely decorative character.

Women

Women's upper shoulder clothing consisted mainly of ustkoinyaia (outer shirt),
arkhalyga, chepkena, labbady, kyuladzhi, kurdu, eshmyak, bahari. From the women's upper waist
- fog (skirt) and chakhchur.

Woman suit. Baku. 19th century

UST KYOINYAII(the shirt) had a straight cut, it was sewn without a shoulder seam. Straight,
a long and wide sleeve was sewn to a straight armhole; sometimes placed on the sleeve near the shoulder
two or three folds

CHEPKEN- a widespread type of women's upper shoulder clothing. Chepken sewed on
lined and tightly fitted the figure.

LABBADA sewn on a quilted lining. The front flaps of the labbad did not cover the chest,
and tied at the waist with braid. Labbada was sewn short, just below the waist, at
There were chapyg - protrusions on the sides. The sleeves were up to the elbow, and there was a large slit under the armpit.
Labbada was made from tirmya, velvet and various types of brocade fabrics.

Woman suit. Shusha. 19th century

ESHMYAK- quilted women's outerwear. The floors of the ashmyak on the chest did not meet,
the sleeves were to the elbow, and there was a large cutout under the arm. Eshmyak was sewn from tirm and velvet.

BAHARI- sewn on a quilted lining. The bahari fitted the figure tightly to the waist,
and the underbelly was sewn to the waist in small gathers. The length of bahari is usually up to the hips.

KULYADZHA- women's outerwear, cut at the waist. To the waist in small gathers
the hem was sewn on. The kuljaja did not have fasteners. The length of the culage reached the knees.
Straight sleeves, three quarters. Kuljaja was made from tirm and velvet.

Woman suit. Shemakha. 19th century

In cities, when going out into the street, women wore chakhchur over all their skirts, consisting of
two pants; each trouser leg at the ankle was gathered into a small gathering in the form of a cuff, to
to which socks sewn from the same fabric were sewn. Each trouser leg was chakhchur
independent. Chakhchur was made from silk fabrics.

Over arkhalygs or chepkens, women wore kamyar - gold or silver belts.
Wide leather belts with sewn on them were also widespread.
silver coins and a silver buckle.
The veil is mainly characteristic of women living in the city and suburban villages. The veil could
be plain satin, checkered, colored silk, mainly local
production.

Fog. Ganja. 19th century

The upper waist clothing of an Azerbaijani woman consisted of a fog - a skirt reaching to
ankles. The skirt was made from 10-12 fabrics.
Most women usually wore 5-6 skirts at once.

Fog. Fragment. Nakhchivan. 19th century

Skirts worn between the lower body and upper skirts were called ara tumans, then
There are intermediate skirts. All skirts gathered at the waist into a bustle - a small gather or
gyrchyn - folds. Skirts were made from a wide variety of fabrics, from chintz to
the most expensive, including velvet and tirmya.

Arkhalyg female. Shusha. 19th century

ARKHALYG- also a widespread variety throughout Azerbaijan
upper women's shoulder clothing. There were various types of Arkhalygs.
Arkhalygs were sewn with a lining, some of them tightly fitted the figure to the waist, and
A basque of varying widths was sewn onto the belt. It could be folded or collected
into a small assembly.
Arkhalygs were richly decorated with various ribbons and gold lace, etc.

Kurdu. Shusha. 19th century

KURDU- quilted sleeveless vest. The front floors do not meet, there are protrusions on the sides
with a cut. They sewed kurdu from tirm and velvet. Collar, hem, slits and sleeve openings
trimmed with ferret fur. There was also another type of kurdu, called Khorasan kurdusu, brought
pilgrims from the Middle East. They are sewn from dark yellow suede, and all
their surface is embroidered with silk threads of the same color.

To decorate women's outerwear there was a large amount of home and handicraft
produced by bafta (braid) - saryma, garagoz, zyandzhirya and shahpesend (gold or
silver lace).
To decorate women's clothing with embroidery, they used gulyabatyn - gold or silver
threads, beads, sequins, etc.
Women's outer clothing was also decorated with gold stamped plaques,
sewn on the collar, sleeves and hem.

Arakhchin. Baku. 19th century

Of the women's headdresses, the most widely spread were kelagai, naz-iaz,
gaz-gaz and orpyak - silk scarves. In Azerbaijan, kelagai were a local handicraft
production. The main centers of kelagai production were the cities of Ganja, Shemakha and
Sheki.
In some places, women wore an arakhchyn under a scarf - a low cap with a flat
bottom, most often with sewn gold stamped decorations.

Ganja. 19th century

In Azerbaijan, multi-colored morocco shoes were very common. Like a woman's
Likewise, the most widely used men's shoes were bashmag - shoes. Women more often
they wore embroidered shoes and boots with morocco or cloth tops. Men's footwear
usually had no decorations; it was made from tanned and rawhide.

Shabkulakh. Sheki. 19th century

The headdress was an important element in the clothing of Azerbaijani men; it was given
great importance. Walking with your head uncovered was considered a great shame.
The most common types of men's hats were fur of various forms
hats: bukhara papag and charkyazi papag (made of black, gray or brown astrakhan fur),
Shyala papag (worn by shepherds) made of lamb fur and others. Arakhchins were widely used -
skullcaps made of tirmya and silk with various embroideries, often gold embroidery. Elderly
men and old people also wore a tyasyak under a fur hat - a small quilted skullcap
from white calico. At night, men wore shabkulakh - conical quilted caps
or embroidered, lined.

Jorab. Baku. 19th century

Jorab - knitted socks - were widespread throughout Azerbaijan. They were knitted from
home-made and dyed wool and silk threads. Jorabs were worn by men and
women, children and old people. Azerbaijani jorabs were distinguished by rich ornamentation and
brightness of colors. Their patterns resemble those of carpets, embroideries, printed heels and fabrics.
The socks were long, up to the knees, and short, above the ankles.

From the book: Azerbaijani national clothes. M.: “Iskusstvo”, 1972

Don't miss it only on this site
watch the new interesting series “Billions”.
It is about the irreconcilable rivalry of the rich leader of one of the largest
hedge funds with a major influential politician and prosecutor. Who will win the power struggle
and you will learn money by starting to watch the series on January 18, 2016

Until the mid-19th century, clothes in Azerbaijan were made mainly from local fabrics; fortunately, silk, cotton and wool were always in abundance here. In the 19th century, Russian calico, locally called “gumash”, plush and chintz (chit) came into fashion: at first, chintz from the Morozov textile factory (Morozov agy) was imported to Baku; in 1901, its own Tagiyev manufactory (Tagyjev agy) appeared here .

Chintz, dyed homespun calico, as well as local thin silk without a pattern were used to sew ladies' undershirts (keinek). In wealthy families, shirts were made from madapolam, a fabulously expensive thin white fabric woven in England and Switzerland from Egyptian cotton. However, no matter what the shirt was made of, its style always remained the same: a short, loose vest with long sleeves at the cuff, fastened with a button at the neck.

Azerbaijani dancer. Artist - G. Gagarin (1899)

One hundred clothes

An indispensable part of the ladies' toilet in Azerbaijan, as in any other Muslim country, were trousers or shalwars (harem pants), tied at the waist with a woven belt with multi-colored tassels at the ends. In Baku, Shemakha and Nakhichevan, ladies also wore chakhchur on the street - trousers gathered at the ankle onto a cuff, to which socks made of the same fabric were sewn. Chakhchur was also worn for riding.

"Woman from Baku". 19th century. Artist G. Gagarin

An underskirt was supposed to be worn over the pants, a middle one over the bottom one, an intermediate one (ara tumamy), and one or more outer skirts over the middle one. Skirts, gathered at the waist in lush folds, were sewn by hand from 8–16 straight sheets of material of different values ​​(silk, velvet, brocade, satin, fine wool). Overskirts were worn wide and long so that they completely covered the trousers, and the lower and middle skirts. From under the hem, richly decorated with embroidery, braid, lace and coins, only the toes of shoes peeked out. In winter, between the middle and upper skirts, another one was worn for warmth - a quilted jorgan fog with cotton wool.

Spring women's suit. Baku. 19th century

Over an undershirt and numerous skirts, the Azerbaijani woman wore a simple-cut tunic-shaped outer shirt with a small round neckline or slit on the chest. The bottom of the shirt, as well as the hem of the upper skirt, was usually trimmed with galloon or coins; the collar and edges of the sleeves were decorated with braided laces and braid (raw) made of silk or gold threads. For young women, outer shirts were sewn mainly in pink, red, yellow or purple. Older ladies preferred darker tones.

Women's outerwear also did not differ in a variety of styles. But it was certainly richly decorated with beads, beads, gimp, braid and braid, as well as gold or silver plaques and fur. Here is how one of the Russian travelers who visited Baku at the beginning of the 19th century describes the women’s outfit: “Women wear wide trousers, mostly made of silk fabric, red or blue, a very short silk shirt of the same color, and on top they put on a short arkhalyg, also silk, with gold and silver embroidery, cinched at the waist with a wide buckle. On this arkhalyg they put on another one: for the rich - from brocade fabric, of the same cut, but with split long sleeves. Finally, a shawl of red or dark blue, in the form of a turban, wraps the head.” In general, a hundred clothes.

No coat needed

By the way, the mentioned arkhalyg - something between a coat and a robe - was perhaps the most common outerwear in Azerbaijan. It was worn by both women and men. Velvet, satin, satin or wool, made from expensive misgala tirme (striped fabric with floral patterns), arkhalyg was sewn on a lining, with narrow or widening sleeves from the elbow downwards. On the chest there is a fur trim, patterned homespun braid, galloon or blown bud-shaped gold jewelry like bells. The arkhalyg was fastened with hooks or buttons (both are possible - the more intricate, the better).

In addition to the arkhalyg, there were quilted labada, eshmek, bakhar... The front flaps of these types of clothing should not completely cover the chest, the sleeves only reached the elbow. They were sewn from velvet, tirme and brocade fabric. Of course, the hem, collar and sleeves were richly decorated with various ribbons and gold lace. The gurda - a winter sleeveless jacket - was, among other things, trimmed with beaver, marten or ferret fur.

Only at the very end of the 19th century, and even then only in large cities, coats began to come into use. However, in rural areas many people still prefer a large, warm shawl as outerwear.

The Shame of Danae

An indispensable attribute of a traditional women's costume are numerous jewelry - head, chest, neck, wrist, clothing jewelry, braid jewelry... Compared to the average Azerbaijani woman, Danaya, reclining in the golden rain on the canvases of Renaissance artists, looks like a beggar... Without jewelry, ladies in Azerbaijan They walked only during mourning, as well as 40 days after childbirth. The love of the local population for jewelry was so great that jewelers often ordered jewelry not only for wives, daughters and daughters-in-law, but also for lap dogs, which became fashionable in the 19th century (in large cities, keeping a pair of Italian Greyhounds was considered prestigious).

Decorations for clothing consisted of all kinds of puffs, pins, buttons, coins, bells... In addition, every married lady was supposed to wear a belt decorated with several rows of gold or silver coins (although the belt had a purely utilitarian meaning, it was also attributed the properties of a talisman). Earrings, rings, bracelets and beads were considered a necessary set for any, even not very wealthy, woman.

Girls began to wear jewelry from infancy. Gyoz mynchygy beads were hung on a newborn's hand to protect her from the evil eye, and later the same beads were placed in her ears. Well, from the age of 12, girls flaunt in a full ceremonial set - rings, earrings, bracelets, necklaces, hair ornaments, brooches, pendants... She will wear all this beauty until the birth of her first child. And then the number of jewelry will decline, reaching a minimum by the age of fifty: earrings, a couple of bracelets and a few rings.

Appearing in public without a headdress, showing strangers such an intimate thing as hair, was considered the height of indecency. In some places, women wrapped a turban or dinge (a complex turban-shaped structure made of a shawl, which, like the turban, was secured with special hooks) around their heads. However, most often the head was simply covered with a silk scarf, which was tied in different ways in different areas. Young people preferred brighter scarves, older people preferred darker ones. Under the scarf, many wore a cap embroidered and decorated with gold plaques, called here a gadyn papakha. The cap had several functions: to maintain the hairstyle, to hide the hair from prying eyes, but its main purpose was to prevent the silk scarf tied on top from slipping off.

However, it doesn’t matter what you have on your head – a chutga, a turban or a scarf. The main thing is that the braids are covered. Only curls cut at the ears and specially curled were allowed to come out from under the headdress. And even then only at home. A woman, going out into the street, was supposed to be wrapped in a veil from head to toe. True, this rule was strictly observed only in cities. Here the ladies sported satin bedspreads with a curtain over the face and a lace mesh for the eyes. In the village, morals were simpler. The veil was removed from the chest only on special occasions: say, if you had to go to a neighboring village to visit relatives. The rest of the time, in public, the lower part of the face was simply covered with the corner of a headscarf...

Ekaterina Kostikova

“People are greeted by their clothes...” says a Russian proverb. And we say, “if beauty is ten parts, then nine of them are clothes” (gözəllik ondur doqquzu dondur). So it is the national costume that first of all helps to understand the essence of the people, their soul, their mentality. It is an integral heritage of the culture of every nation. This is not only a bright, original element of culture, but also a synthesis of various types of decorative creativity.

Likewise, the Azerbaijani national costume is the clearest example of demonstrating the culture of the people and reflects national specifics. It was created as a result of centuries-old processes of development of the material and spiritual culture of our people.

Traditionally, the history of folk art, its ethnographic and artistic features are reflected in clothing. This feature is manifested in a special form of clothing, its ornaments, and artistic embroidery. National costumes are original and very beautiful. Men's and women's costumes have specific symbolism, and every detail has its own meaning.

A LITTLE HISTORY

The fact that our distant ancestors were able to sew their own clothes is proven by bronze needles and knitting needles (3 thousand BC), found during archaeological excavations on the territory of Azerbaijan. Clay figurines discovered in Kultepe and Mingachevir and sewing seals found here dating back to the 5th century BC provide some insight into the clothing of people of that time. Also, during excavations in a burial near the Palace of the Shirvanshahs in Icherisheher, remains of valuable fabrics were found.

In the 17th century, Azerbaijan was one of the largest sericulture regions in the Middle East, and Shirvan was considered the main center. Silk fabrics were also produced in Shamakhi, Baskala, Ganja, Sheki, Shusha, etc. Here they produced exquisite fabrics of amazingly beautiful patterns, silk women's headscarves, etc.

In addition, gold jewelry and clay vessels in the shape of shoes, dating back to the 4th-3rd centuries BC, discovered during excavations prove that even in ancient times our ancestors had a developed material culture.

WOMEN'S NATIONAL COSTUME

The national costume of an Azerbaijani woman consists of two parts - upper and lower.

An important part of the costume was considered to be a bag-like veil - "veil" and a curtain for the face - "rubend", which women put on when leaving the house. Outerwear was made from fabrics of bright colors, the quality of which depended on the wealth of the family. The outfit, depending on the social status and financial capabilities of the family, could also include many different jewelry, for example, gold and silver beads, buttons stylized as large grains of barley, openwork pendants, etc. Also, women's outfits differed in style, i.e. young women, unlike older women, wore lighter clothes in catchy colors. By the way, this trend can be traced among our adult population even now.

The composition of the women's costume included: "ust geyimi", "arkhalyg", "chepken", "lebbade", "kuledzhe", "kyurdu", "eshmek" and "bahari".

“Ust Geyimi” or outerwear consisted of a shirt with sleeves flaring from the elbow, wide trousers to the ankle and a flared skirt of the same length. The shirt was fastened at the neck with one button. And over the shirt they wore a “chepken”, which fit snugly to the body. On the sides the "chepken" had sleeves ending in oversleeves. “Chepken” was sewn from “tirme” fabrics, velor and various shiny materials. In general, shiny fabrics were the main ones when sewing the national costume. It’s not for nothing that even today Azerbaijani women have a craving for sparkles.

Women also wore a short jacket with long sleeves ("arkhalyg") that fitted the back and chest, which had a wide cutout in the front. It was tightly cinched at the waist and gathered into gathers below. "Arhalyg" is considered one of the most common types of clothing throughout Azerbaijan. Like the “chepken,” the “arkhalyg” also had a lining, and its cut fit snugly to the body. The part of the “arkhalyg” below the waist was complemented by a hem of varying widths, trimmed with pleating or corrugated fabric.

In addition, the national costume included "lebbade" - quilted robes with lining, "eshmek" - quilted outerwear, "kyurdu" - quilted women's clothing with an open collar without sleeves, "bahari" - quilted women's clothing with lining, "kuleje" - women's outerwear to the waist with a corrugated hem.

Women's outfits also differed by region. For example, the shirt of Gazakh women was long with slits on the sides. Women of Karabakh wore a “chepken” close to the waist with long false sleeves. Wide trousers with knee-length skirts were worn in Nakhchivan. In Shusha, Shamakhi, and also in a number of other areas, skirts were long. Long “kuledzhe”, which was worn over a shirt, was worn by rich women of Nakhchivan and Ganja; it was this that accounted for most of the patterns and embroideries.

Over the "arkhalyg" or "chepken" women wore a gold or gilded silver belt. Along with them, leather belts with silver coins sewn on or with a silver plaque were also widespread.

A special place in a woman's costume was occupied by the headdress. These could be hats of different shapes. Several more scarves were usually worn on top of them. Women hid their hair in a special bag made of flax or gauze, called a chutgu. They covered their heads with a special cylindrical cap. Most often it was made of velvet. A turban and several scarves were tied over it. One of the most common was kelagai - a silk scarf that was tied in various ways. "Kelagai" of multi-colored colors were more popular among young girls.

Thus, three headdresses were worn at the same time: the first was “juna” (or flax), the second was “kelagai”, the third was “kerchief”, which was also called “kasaba”, “sarendaz”, “zarbab”. In cold weather, the head was tied with a Kashmiri shawl made of natural wool.

The women wore "jorab" stockings on their feet, and their shoes were without backs.

This is how, according to tradition, our great-grandmothers dressed.

MEN'S NATIONAL COSTUME

Unlike women's, men's national costume was basically the same in all zones of Azerbaijan. The class affiliation of its wearer was traced in the men's costume. The main and special place was occupied by the headdress. He was the personification of courage, honor and dignity. So if they wanted to insult someone, they could try to knock the hat off his head. Hat hats were never removed, and in general, it was considered shameful to go out in public without a headdress. Hat hats also showed the wealth of their owner. Everything mattered - the height, the quality and finish of the fur, and even the lining.

Considering the importance of a hat in a man’s suit, let’s talk about it in more detail.

Papas had various forms and local names. Yappa papaq or "gara papaq" (black papakha) was widespread in Karabakh and had a fabric top. They were also gold and silver in color. Motal papakh or "choban papakha" ("shepherd's papakha"), which was made from long-haired sheep fur in the shape of a cone. Most often, such hats were worn by the poor layers of the rural population. Shish papakha or "bey papakha" ("bek's papakha") was made from fur brought from Bukhara. Of course, they were worn only by representatives of the bek class, as well as wealthy people and city nobility.

The hat most known to us thanks to souvenir shops is the arakhchyn. It was worn by both men and women. And not the way we do it today, going out for a walk during Novruz. Arakhchin was worn under other headdresses (papakha, turban for women). This was a typical traditional headdress among Azerbaijanis, widespread back in the Middle Ages.

Speaking about the men's costume, it is worth noting that it was not as intricate as the women's and consisted of the “mouth of keineya” or “chepken”, “arkhalyga”, “gaba”, “chukha”.

Men also wore woolen socks - "jorab". City dwellers wore leather shoes with turned-up toes without backs, and boots were common among aristocrats. Among the villagers there were leather or rawhide shoes - “charykh”.

HOW WE WEAR IT TODAY

Of course, today you won’t see people walking around in national costumes. They were worn sometime before the 20th century, and after that only in some rural areas. But they are widely used by performers of national Azerbaijani dances and in folklore performances.

But despite the fact that the suits themselves are not worn, nevertheless, the trends of that time simply “occupied” the catwalks, and not only Eastern, but also European designers include in their collections trousers, a long skirt, and a peplum, characteristic of the Azerbaijani national costume. Today we can even afford to wear Italian clothes with Azerbaijani motifs, for example, from the collection of designer Renato Balestru, created specifically for Azerbaijan.

National silhouettes and motifs began to appear more and more often in the collections of local designers. Azerbaijan has again returned to its roots, introducing the world community to the rich culture of our people.

The national costume of each people reflects its historical and cultural values. By studying the time periods of development of a particular nation, one can trace the changes that traditional clothing has undergone, as well as identify features that have remained unchanged over the centuries. A description of the national costume of Azerbaijan is presented to your attention in the article.

History of Azerbaijani costume

National clothing has its roots in the distant past. During archaeological excavations, they were discovered from the third millennium BC. Found seals, pottery, and gold jewelry dating back to the 5th century BC can already give some idea of ​​the material development of the Azerbaijanis. In the 6th century AD, sericulture became firmly established in Azerbaijan. This type of craft developed over many centuries, and the silk fabrics produced there were the best in the world. In addition to silk, craftsmen also used imported chintz, velvet, and cloth. The culture of Azerbaijan stipulated that all kinds of ornaments were almost always present on fabrics. All of them are inspired by the natural beauty of this region. Most often depicted:

• flowers of pomegranate, quince, rose, lily, iris and carnation;
• birds alone or in pairs - peacock, pigeon, partridge, nightingale;
• animals - horse, gazelle, turtle.

Also embroidered on the fabric:

• various geometric patterns - squares, diamonds, circles;
• images of household items (for example, a jug);
• elements of pre-Islamic symbolism - schematic images of celestial bodies.

They even embroidered entire plot compositions. Most often they depicted either scenes from palace life or illustrations of poetry.

The fabric used was predominantly red. This color was a symbol of a happy life, so brides wore a red dress to their wedding. And the word Azer (from the name of the nation) is translated from Arabic as flame.

Changes were made to costumes as the culture of Azerbaijan, its people developed and new types of crafts were mastered. Important historical events, such as wars, also played a big role. If we look at a men's suit in wartime and in modern times, we can see that the details necessary for carrying weapons have now lost their functions and become decorative.

Women's national costume

The traditional women's Azerbaijani national costume is represented by several elements. It mainly consisted of a shirt, a waist-length caftan and a long multi-layered skirt. The most common types of women's outerwear were:

• Ust keinei - a long-sleeved shirt made of silk of the ganovuz and fai varieties. The sleeves could be straight cut or with a small frill. It was fastened at the neck with one button. The shirt was decorated with a beautiful gold braid; a thread with real coins could be hung in front along the lower edge.
• Chepken is a kind of caftan that was worn over a shirt and fit tightly to the body. Features of the chepken: the presence of a lining, false long sleeves ending with cuffs. Thanks to the presence of a unique detail - chapyg - chepken favorably emphasized the beauty of the female figure.
• Arkhaluk is almost the same as a chepken, only with a hem at the bottom. The hem was ruffled or pleated. Arkhaluki could be either figure-hugging or straight, loose cut with slits on the sides. The oversleeves ended in mittens. Arkhaluki were divided into holiday and everyday ones. They differed in the choice of fabric and the number of ornaments.
• Lebbade is a quilted robe with an open collar, tied at the waist with braid. The lebbade's sleeves were short, and the hem from the waist had slits on the sides.
• Eshmek is a quilted caftan with open chest and armpits, lined with ferret fur inside.
• Kyurdu is a quilted velor vest with slits on the sides. The Khorasan kyurdu, which was made of yellow leather with embroidery made with gold threads, was considered especially popular.
• Bahari is a quilted velor garment with straight knee-length sleeves.
• Kuleche - outerwear with a corrugated hem to the knees and elbow-length sleeves.
• Tumans are floor-length silk or wool skirts consisting of twelve pieces of fabric. Fogs could be corrugated or pleated. Pompoms made of gold or silk threads were used as decoration. Often they wore 5-6 skirts at a time.
• A woman could not go outside without a veil, covering her from head to toe, and a rubenda, a fabric that hid her face.

Accessories

In addition to bright clothes, the image of the Azerbaijani woman was replete with many details. Over the arkhaluks women wore gold and silver, and sometimes leather, decorated with coins or a shiny plaque. They used embroidery and trim with braid and piping, beads and coins, various chains, buttons, brooches and plaques. Azerbaijani craftswomen skillfully used all materials, turning things into real works of art. And embroidery has become a separate, very developed craft.

Decorations

Azerbaijani women have always loved jewelry and used it to the maximum. They could not be worn on days of mourning or on strict religious holidays. Elderly and old women almost never wore them, limiting themselves to a couple of rings. But young girls accumulated large collections of all kinds of chains, pendants, rings, and earrings, since they started decorating children at the age of three. The set of jewelry was called imaret. Jewelers made products from precious metals and stones.

The combination of bright clothing fabrics, various finishing elements and shiny decorations created a bright, rich, memorable image.

According to some criteria in clothing, it was possible to determine the status of an Azerbaijani woman and her age. For example, the presence of a belt on top of a chepken or arhaluk indicated that the woman was married. Young unmarried girls did not wear belts.

Headdress

It was also clear from the headdress whether the woman was married or not. Young girls wore small skullcap-shaped hats, but married girls did not. Several hats were worn at the same time. First, they hid their hair in a special bag, then they put on a hat (for unmarried women), and on top they tied kelagai - multi-colored scarves. After the wedding, Azerbaijani women wore several headscarves without a hat.

The quality of the fabric showed how wealthy the girl’s family was. Everyday clothing was usually made from linen, wool and calico. But the outfits were silk, brocade, velvet.

Shoes

Azerbaijani women wore shoes that were also decorated with embroidery, or morocco boots. Patterned stockings made of cotton or wool (sheep, camel) - jorabs - were worn under shoes. Festive jorabs, decorated with ornaments, were even passed down from generation to generation.

Men's national costume

The national costume of Azerbaijani men is less bright, but very colorful. The headdress was considered the main attribute and symbol of masculinity. It could not be removed under any circumstances. The only reason when an Azerbaijani remained with his head uncovered was the religious holiday of namaz. If the hat was knocked off by force during a quarrel or fight, this could serve as the beginning of a conflict for both families, and cause enmity for many years.

Papakha

Special craftsmen were engaged in making men's hats. There was a whole technology for making this headdress: first they sewed a shape from the skin, then turned it inside out and covered it with cotton wool for softness. A sheet of sugar paper was placed on top to maintain the shape and everything was sewn up with lining fabric. Having turned the hat with the wool outward, they splashed it with water and beat it with a stick for about 4-5 minutes. Then the product was put on the mold for 5-6 hours.

The most common headdress was sheep's wool hats. They were made in different shapes: cone-shaped or round. One could judge a man's financial condition by looking at his hat. Wealthy Azerbaijanis had pointed shield hats or bey hats made of fur brought from Bukhara. It was customary to wear a hat made of astrakhan fur for the holiday. Men from the common people wore cone-shaped papakhas choban papakhas with long-pile fur.

Hood

Another popular type of headdress was the bashlyk - a cloth-based hood with rather long tails. Small hats - arakhchyns - were intended for home use. When going out on the street, the arakhchin wore a hat.
They used theskulakh for sleeping, because even at night it was impossible to remain without clothes. For various celebrations, Azerbaijanis wore astrakhan hats.

What did the national men's costume consist of?

(male) consisted of several main parts:

• undershirt,
• pants,
• overshirt,
• trousers,
• arhaluk;
• cloth chukha (Circassian).

Azerbaijani men first put on an undershirt, long johns, then an outer shirt, an arkhaluk on top, and then a chukha. On the chukha there were sewn gas boxes - nests for storing cartridges. In cold weather they wore a long sheepskin coat on top.

The outer shirt was white or blue. It was sewn from satin or satin. The clasp was in the form of a loop or a button. Arkhaluk was sewn single-breasted or double-breasted, with a stand-up collar. The single-breasted arkhaluk had a fastening with hooks, while the double-breasted one had buttons. It was tailored to fit. The hem of the arkhaluk was decorated with frills, the sleeves were straight, tapered downwards. In cold weather, wool trousers were worn over the long johns. They were quite wide for ease of movement on horseback.

An important addition to the national costume of Azerbaijan was the belt. They sewed leather, silver, silk, and brocade belts. They were designed to carry weapons and other necessary small items. The belt was worn over the arkhaluk.

In general, the appearance of an Azerbaijani warrior is breathtaking: a Circassian jacket emphasizing broad shoulders and a narrow waist and hips, slender legs in black boots - all this is combined into a courageous and noble image.

Shoes

Azerbaijani men used leather shoes or boots for footwear. They were plain, without patterns or decorations. Later, shiny rubber galoshes became popular. Morocco shoes with flat soles were used as house shoes.

Instead of an afterword

In modern life it is rare to see people in national costumes, but this does not mean that they are forgotten. On the contrary, fashion designers around the world use many of their elements in their collections. And this is justified: in the traditional costume of the Azerbaijani people, beauty, harmony, and aesthetics are intertwined. This is the embodiment of cultural values ​​carried through time.

In archaeological excavations reflecting the Early Bronze Age (3rd millennium BC), bronze awls and needles were discovered on the territory of Azerbaijan, indicating that the ancient inhabitants of Azerbaijan sewed their own clothes.
Clay figurines from the area of ​​Kul-Tepe (2nd millennium BC) and Mingachevir (1st millennium BC), images on signet rings also discovered in Mipgechaur (5th century BC) , give some idea of ​​the forms of clothing of that time.
In the catacomb burials of Mingachevir dating back to the 5th–6th centuries, remains of silk fabrics were found. The high level of material culture of the ancestors of the Azerbaijani people is evidenced by numerous jewelry made of precious metal (III-IV centuries) and clay vessels made in the shape of boots.
From excavations in the tomb of the Shirvanshahs' palace (XV century) in Baku, during the opening of the tomb, remains of rich brocade and silk fabrics were discovered.

Children's costume for girls. Baku. 19th century

The abundance and low cost of raw materials created favorable conditions for the development of silk weaving, wool weaving and other branches of weaving in the medieval cities of Azerbaijan.
In the 17th century, Azerbaijan was a large sericulture region in the Middle East, and the Shirvan province was the main sericulture region of Azerbaijan. An important weaving center of Azerbaijan was Shamakhi along with its surroundings (Shabran, Aresh, Kabala, Cevat, Agdash, etc.). About this, Adam Olearius writes the following: “The main occupation of them (the Shirvans. - Authors) is yarn, weaving silk and wool, and various embroideries.”

Children's suit for a boy. Sheki. Early 19th century

The fabrics made in Shemakha were especially famous - taffeta (Shemakha), fai, darai. Shemakha gold-woven scarves and lace were in great demand among the population.
Weaving was widely developed in cities such as Ganja, Nakhichevan, Maraga, Marand, Aresh, Ordubad. Among them, Ganja, one of the centers of silk weaving, should be especially highlighted.
Evliya Celebi (XVII century) writes that Ganja silk was very famous. The production of cotton fabrics also occupied a large place in the urban craft of Ganja.
The production of fabrics of various quality was concentrated in the city of Tabriz. He was especially famous for velvet, satin, red and motley fabrics. Some of these fabrics were also exported.
Skilled artisan weavers of Nakhichevan produced a lot of cheap, but beautiful and high-quality cotton fabrics. Nakhichevan dyed calicoes were in great demand.
Thus, in the 17th century in Azerbaijan there was to some extent a specialization of cities in the production of fabrics, which persisted in the future.

Woman suit. Shemakha. 19th century

The following fabrics were produced in Azerbaijan: zarbaft, brocade, satin, taffeta, canaus, damask, muslin, velvet, darai, makhud, shawl, tirmya, motley, calico, calico, etc. Some of them also had other names that were common in Azerbaijani colloquial speech. For example: gaji mana bah – gaji, look at me; geja gunduz – night and day; gendya dur - step aside; alyshdym yandym - I’m flaming, kyucha mana dar gyalir - the street is too small for me, etc. These fabrics were consumed by the local population and exported outside the country.
Fabrics are one of the elements of the culture of the people. The specifics of their ornaments and colors indicate the national and social affiliation of the owner.

Woman suit. Baku. 19th century

If women's clothing was made mainly from silk and velvet, then for men's clothing they used mainly makhud - locally produced or imported cloth, as well as shawls - homespun woolen fabric. Underwear, both women's and men's, was made from linen and cotton fabrics; sometimes in rich families the undershirts were silk.
In the 19th century, the most important centers for the production of silk fabrics in Azerbaijan were Shemakha, Baskal, Ganja, Sheki, Shusha. Here they produced fabrics of amazing subtlety, sophistication and beauty of patterns, silk women's headscarves, and dzhejims - silk striped fabrics.
A valuable source for the study of clothing are medieval miniatures and works of applied art, especially the frescoes of the Sheki Khan's Palace (XVIII century).
For the history of the Azerbaijani national costume of the 19th century, sketches from life by Russian artists V.V. Vereshchagin and G.G. Gagarin, who visited Baku, Shemakha, Sheki, Ganja, and Kazakh, are of particular interest.



Arkhalyg female. Shusha. 19th century

The clothing of Azerbaijanis was basically the same in all the named historical and ethnographic zones, which indicates their historically established ethnic community. Minor differences in the clothing of the population of these zones reflect the local characteristics of the unified Azerbaijani national costume.
Festive and wedding clothes were usually made from more expensive fabrics and more richly decorated.
The style of the suit reflected the marital status and age of its owner. The girl's costume was noticeably different from the married woman's. Young women dressed most brightly and elegantly. Girls and older women wore much less jewelry.
Men's costume, like women's, was basically the same in all historical and ethnographic zones. At the same time, the men’s costume also reflected the class affiliation of its wearer.
Children's clothing is identical in shape to the costume of adults; it differs from it in size and some features caused by the age of its owners.<...>


Kurdu. Shusha. 19th century

Azerbaijani women's clothing of the 19th – early 20th centuries. consisted of underwear and outerwear, which in turn was divided into shoulder and waist clothing.
In Azerbaijan, one can conditionally distinguish a number of historical and ethnographic zones. The largest zones were Cuba - Khachmas, Absheron, Lankaran - Astara, Shamakhi, Karabakh, Nakhichevan - Ordubad, Kutkashen - Vartashen, Sheki - Zakatali, Ganja, Shamkhor - Kazakh.
Women's upper shoulder clothing consisted mainly of ustkoinyaia (outer shirt), arkhalyg, chepken, labbada, kuljadzhi, kurdu, eshmyak, bahari. From the upper waist women's clothing, the album includes a fog (skirt) and a chakhchur.
UST KYOINYAI (shirt) had a straight cut, it was sewn without a shoulder seam. A straight, long and wide sleeve was sewn to a straight armhole; Sometimes two or three folds were placed on the sleeve at the shoulder. A khishdyak (gusset) was sewn under the armpit of the shirt, usually from a fabric of a different color. The shirt was fastened at the neck with one button. The outer shirt was usually made from canausa and faille silk. The neckline of the collar, the edges of the sleeves and the hem of the shirt were trimmed with saryma (cord). Gold or silver coins or eteklik - gold stamped plaques - were sewn to the hem in the front of the shirt.

Fog. Ganja. 19th century

CHEPKEN is a widespread type of women's upper shoulder clothing. The chepken was sewn with a lining and fitted the figure tightly. On the sides the chepken had chapyg - small protrusions. A distinctive feature of the chepken, in comparison with other types of women's outerwear, is the presence of long false sleeves ending in an elchek - a cape reminiscent of a hand. Such sleeves hung freely from the shoulder. Sometimes there were fasteners along the cut of the sleeves. The sleeves of the chapkens were lined with expensive silk fabrics in contrasting tones. Caps were made from tyrym, velvet and various brocade fabrics. The chepken was decorated with braid, bias tape made from another fabric, and gold lace.
ARKHALIG is also a widespread type of women's upper shoulder clothing throughout Azerbaijan. There were various types of Arkhalygs.
Arkhalygs were sewn with a lining, some of them tightly fitted the figure to the waist, and a basque of varying widths was sewn to the belt. It could be folded or assembled into a small assembly. There were also straight short arkhalygs without a waist line, with small protrusions on the sides. The sleeves of the Arkhalygs also differed in cut. There were straight long sleeves. Another type of sleeve up to the elbow was straight and sewn, and then it took the form of a false sleeve, ending with an elchek - a cape, slightly longer than the hand. The third type of arkhalyg sleeves is the so-called lelyufyar. Below the elbow, such a sleeve diverged into a wide bell. A frill folded into the fold was sewn to the cuff of the lelufiar sleeve. The deep cut of the Arkhalyg collar was mainly of the square type, with straight or rounded corners. There were also archalygs with straight non-converging floors without fasteners. Other types of arkhalygs were fastened in front with hooks or buttons.


Fog. Fragment. Nakhchivan. 19th century

For sewing Arkhalygs they used velvet, tirmya and various brocade fabrics. Arkhalygs were richly decorated with various ribbons and gold lace, etc.
LABBADA was sewn on a quilted lining. The front flaps of the labbad did not cover the chest, but were tied at the waist with braid.
Labbada was sewn short, just below the waist, with chapyg - protrusions - on the sides. The sleeves were up to the elbow, and there was a large slit under the armpit. Labbada was made from tirmya, velvet and various types of brocade fabrics. The hem, collar and sleeves were richly decorated with braid and gold lace.
ESHMYAK – quilted women's outerwear. The hem of the ashmyak did not meet at the chest, the sleeves were up to the elbow, and there was a large cutout under the armpit. Eshmyak was sewn from tirm and velvet. The collar, hem and sleeves were trimmed with ferret fur. The ashmyak inside was also lined with ferret fur. The collar, sleeves and hem were trimmed with gold lace and various ribbons.

Woman suit. Shusha. 19th century

KURDU – quilted sleeveless vest. The front floors do not meet; there are protrusions with a split on the sides. They sewed kurdu from tirm and velvet. The collar, hem, slits and armholes of the sleeves were lined with ferret fur. There was also another type of kurdu, called Khorasan kurdu, brought by pilgrims from the countries of the Middle East. They are sewn from dark yellow suede, and their entire surface is embroidered with silk threads of the same color.
BAHARI - sewn on a quilted lining. The bakhari fitted the figure tightly to the waist, and the hem was sewn to the waist in small gathers. The length of bahari is usually up to the hips. Straight sleeves, elbow length. The front flaps do not fasten. Bahari was made mainly from velvet. The hem, collar and edges of the sleeves were decorated with various braids, oblique trim from other fabrics, and gold lace.
KULYADZHA - women's outerwear, cut at the waist. The hem was sewn to the belt with small gathers. The kuljaja did not have fasteners. The length of the culage reached the knees. Straight sleeves, three quarters. Kuljaja was made from tirm and velvet. The collar, hem, waistline and sleeves were often decorated with rich embroidery with gold and silver threads, beads, sequins, and spirals.
The upper waist clothing of an Azerbaijani woman consisted of a tuman - a skirt reaching to the ankle, with the exception of the Nakhichevan - Ordubad zone. The skirts there are short. The skirt was made from 10–12 fabrics. Most women usually wore 5-6 skirts at once. Skirts worn between the lower body skirt and the upper skirt were called ara tumans, that is, intermediate skirts. All skirts at the waist were gathered into byuzma - small gathers or gyrchyn - folds. Fog bagi, a homemade braided cord made from colored silk threads, was pulled into the hem of the skirts. Both ends of this cord ended in tassels made of colored, silver and gold threads. Skirts were made from a wide variety of fabrics, ranging from chintz to the most expensive ones, including velvet and tirmya. They mainly decorated the hem of the skirt: they sewed gold or silver lace, bias tape from another fabric, and various ribbons.

Shoemag. Baskal. 19th century

In cities, when going out into the streets, women wore a chakhchur, consisting of two trousers, over all their skirts; Each trouser leg at the ankle was gathered into a small gather in the form of a cuff, to which socks sewn from the same fabric were sewn. Each chakhchur trouser leg was independent. Chakhchur was made from silk fabrics.
To decorate women's outerwear, there was a large amount of home-made and handicraft bafta (braid) - saryma, garagoz, zyandzhirya and shakhpesend (gold or silver lace). In addition, inch gozas were also used as decorations - hollow gold or silver jewelry, shaped like a bud. They were sewn along the neckline on the chest. Stamped gold or silver midakhyl, eteklik - plaques of various shapes were sewn to the hem of the shirt; Gold coins called imperials were widely used. To decorate women's clothing with embroidery, they used gulyabatyn - gold or silver threads, beads, sparkles, etc.
Women's outer clothing was also decorated with gold stamped plaques sewn onto the collar, sleeves and hem.
Over arkhalygs or chepkens, women wore kamyar - gold or silver belts. Wide leather belts with silver coins and a silver buckle sewn onto them were also widespread.
Of the women's headdresses, the most widespread were kelagai, naz-iaz, gaz-gaz and orpyak - silk scarves. In Azerbaijan, kelagai were of local handicraft production. The main centers of kelagai production were the cities of Ganja, Shemakha and Sheki.
In some places, women wore an arakhchyn under a scarf - a low cap with a flat bottom, most often with sewn gold stamped decorations.
The veil is mainly typical for women living in the city and suburban villages. When leaving home, a woman was obliged to put on a veil or charshab over her entire outfit, wrapping herself in it from head to toe. The veil could be plain satin, checkered, or colored silk, mostly locally produced. An obligatory accessory of the veil was also a rubend - a veil over the face, with an openwork mesh for the eyes.

Uzun bogaz gadyn chekmyasi. Ganja. 19th century

The national clothing of Azerbaijani men can also be divided into lower (body) and upper - shoulder and waist.
The outer clothing of the Azerbaijanis consisted of mouth koinyi (shirt), arkhalyg, chukha (shoulder clothing) and shalvar (waist clothing). It should be noted that this complex of folk costume was widespread throughout almost all of Azerbaijan, with minor local changes that concerned, in particular, the upper shoulder clothing.
There were two types of koynyai lips - with a straight clasp in the front in the middle and a kosovorotka. Both types of shirts had a low, stand-up and stitched collar. They were fastened with small silk cord buttons or hooks. Shirts were made mainly from satin and satin.
ARKHALYG - Men's upper shoulder clothing; cut-off, gathered at the waist into a small gather or pleat. The sleeves are straight, tapering downwards. The arkhalyg fit snugly to the body up to the waist. Arkhalygs were sewn single-breasted or double-breasted with a low stitched stand-up collar and fastened tightly with hooks and buttons. Arkhalyg was sewn from silk, cashmere, satin, cloth, rep, satin, eraser and other fabrics. Over the arkhalyg, young people put on leather belts - gayysh or silver stacked belts - kamyar, and old people wrapped their waists with gurshag - a piece of rectangular fabric 4-6 meters long. For gurshag they used expensive fabrics - tirmya, shawl, brocade, etc.

Men's suit. Shusha. 19th century

CHUKHA is another type of upper men's shoulder clothing. It was cut off, folded at the waist or gathered into an assembly. The chest remained open, and the arkhalyg was visible from under the chukha. The chukha was lined with cotton or silk fabric up to the waist line, and fastened at the waist with hooks and buttons. There were two types of chukha in Azerbaijan: vyaznyali chukha and charkyazi chukha.
An obligatory attribute of the chukha vyaznya was vyaznya - gozyri, which were located on both sides of the chest. Vyazna initially served as sockets for cartridges, later, in the course of the evolution of the costume, they acquired a purely decorative character. Gozyrs began to be made of wood; in the upper part, protruding from the sockets, they had caps made of gold, silver with niello or gilding and ivory. Sometimes gold or silver chains extended upward from the gozyrs, which were then connected together with a rosette. The sleeves of this type of chukha were sewn long and straight.
The Charkyazi Chukha differed from the Vyaznyali Chukha in the cut of the sleeves and the absence of gozyrs. The elchek, ending with a rounded or pointed cape, and the sleeves of the charkazi chukha, lined with silk, were false. At the bottom, these sleeves had a full-length slit, with or without fastenings with small buttons and loops. Typically, such sleeves were turned up to the elbow, thrown back over the shoulders, onto the back, or they hung freely. The length of the chukha varied. It could be long, reaching to the ankles, or short, just below the knees. Chukha was made from makhud - cloth and shawl - homespun woolen fabric. The chukha was decorated with braids, gold cord and bias tape made from another fabric.


Arakhchin. Baku. 19th century

SHALWAR - refers to the upper belt of men's clothing. They consist of two straight legs that taper towards the bottom. A triangular clip was inserted into the inguinal seam. At the waist, the shalwar was tied with a fog bagi - a braided silk cord threaded into a bodice - a restraint. The cords were homemade with beautiful tassels of gold and silver threads. Shalwar was made from shawls and various factory fabrics.
KYURK – outer winter clothing for men. This is a sheepskin coat with fur inside, without fasteners, with a collar. Kirk below the knees. In cities and shopping centers they wore Khorasan kyurku - a fur coat made of yellow tanned leather with embroidered patterns. In the mountains, peasant shepherds wore yapyndzhi - a burka.
The headdress was an important element in the clothing of Azerbaijani men; great importance was attached to it. Walking with your head uncovered was considered a great shame. The most common types of men's headdresses were fur hats of various shapes: bukhara papag and charkyazi papag (made of black, gray or brown astrakhan fur), shala papag (worn by shepherds) made of lamb fur and others. Arakhchyn - skullcaps made of tyrmya and silk with various embroideries, often gold embroidery - were widely used. Elderly men and old people also wore a tyasyak under a fur hat - a small quilted skullcap made of white calico. At night, men wore shabkulakh - conical caps, quilted or embroidered, lined.

Shabkulakh. Sheki. 19th century

Jorab – knitted socks – were widespread throughout Azerbaijan. They were knitted from home-made and dyed wool and silk threads. Jorabs were worn by men and women, children and old people. Azerbaijani jorabs were distinguished by their rich ornamentation and bright colors. Their patterns resemble those of carpets, embroideries, printed heels and fabrics. The socks were long, up to the knees, and short, above the ankles.
In Azerbaijan, multi-colored morocco shoes were very common. The most widely used footwear for both women and men was bashmag - shoes. Women more often wore embroidered shoes and boots with morocco or cloth tops. Men's shoes usually did not have decorations; they were made from tanned and rawhide. In cities, men wore leather shoes made in craft workshops. In rural areas, men wore charyg - posts made of rawhide, the upper part of which was woven with ties made of woolen cord.
The jewelry, in turn, complemented the costume and clearly emphasized the national character of the clothing.

Jorab. Baku. 19th century

The materials used to make jewelry were gold and silver. Precious and semi-precious stones used were diamonds, diamonds, emeralds, yachts, rubies, pearls, turquoise, and carnelian. The centers of jewelry production were the cities of Azerbaijan: Baku, Ganja, Shemakha, Sheki, Nakhichevan, Shusha. Local jewelers supplied the population with all types of jewelry. Among the imported products, it should be said about women's and men's silver belts with niello - kamyar, togga - the work of Kubachi masters. Azerbaijani women loved jewelry and wore them in large quantities.
A complete set of jewelry and ornaments of a particular woman was called imarat. This included a wide variety of head and neck jewelry, rings, earrings and bracelets.

List of used literature:

1. Aristova T. F., Kurds of Transcaucasia, M., 1966.
2. Huseynov A.I., Azerbaijani-Russian relations of the 15th–18th centuries, Baku, 1963.
3. Heydarov M. X., Craft production in the cities of Azerbaijan in the 17th century, Baku, 1967.
4. Dvornikova I. A., Russian and Ukrainian traditions in the clothing of the population of the north-eastern regions of Ukraine. – “Soviet ethnography”, 1968, No. 1.
5. Dvornikova I. A., Russian and Ukrainian traditions in the clothing of the population of the river basin. Kuban (late XIX - early XX centuries). – “Soviet ethnography”, 1964, No. 1.
6. Izmailova A. A., About folk clothing of the population of the south-eastern regions of Azerbaijan. – “Izvestia of the Academy of Sciences of the AzSSR. Series of Social Sciences", No. 4, 1964.
7. Karakashly K.T., Material culture of Azerbaijanis in the northeastern and central zones of the Lesser Caucasus (historical and ethnographic study), Baku, 1964.
8. Kilchevskaya 3. A., Azerbaijani women's costume of the 19th century from the village of Ojek, Khaldan region. – Sat. “Material culture of Azerbaijan”, vol. II, Baku, 1951.
9. Lobacheva I.P., On the history of Central Asian costume. – “Soviet ethnography”, 1965, No. 6.
10. Maslova G.S., Changes in the traditional Ryazan folk costume during the years of Soviet power. – “Soviet ethnography”, 1966, No. 5.
11. Maslova G.S. Folk clothing of Russians, Ukrainians and Belarusians in the 19th – early 20th centuries. East Slavic ethnographic collection. - “Proceedings of the Institute of Ethnography”, vol. XXXI, M, 1956.
12. “Peoples of the Caucasus”, collection, vol. II, M, 1962.
13. Rusyaykina S.P., Folk clothing of the Tajiks of the Garm region of the Tajik SSR. Central Asian ethnographic collection (II). - “Proceedings of the Institute of Ethnography”, vol. XLVII, M., 1959.
14. Studenetskaya E.I., About modern folk clothing. - “Soviet ethnography”, 1963, No. 2.
15. Studenetskaya E.I., Clothing of the peoples of the Caucasus (On collecting materials for the Caucasian historical and ethnographic atlas). – “Soviet ethnography”, 1967, No. 3.
16. “Tatars of the Middle Volga and Urals”, M., “Science”, 1967.
17. Efendiev R., Samples of material culture of Azerbaijan, Baku, 1960.

From the book: Azerbaijani national clothes. M.: “Iskusstvo”, 1972. pp. 14–18.