Analysis of information sources in references of the Wikipedia article "Ozarbayjon madaniyati" in Uzbek language version.
Поощрял развитие ремесла и торговли, укреплял государственный аппарат. Объявил государственной религией Шиизм. Покровительствовал поэтам, художникам, учёным. И. I известен как крупный азербайджанский поэт (писал под псевдонимом Хатаи).
{{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format ()1.6. The most-widely accepted classification of Azerbaijani dialects developed by Shiraliyev, divides them into four categories: Eastern: Guba, Baku, Shamakhy, Mugan, Lankaran; Western: Gazakh, Garabagh, Ganja, Airym; Northern: Shaki, Zagatala-Gakh; Southern: Nakhchivan, Ordubad, Tabriz, Yerevan.
«The silk trade, over which the government held a monopoly, was a primary source of revenue. Ismāʿīl’s successor, Ṭahmāsp I (reigned 1524-76), encouraged carpet weaving on the scale of a state industry. ʿAbbās I (reigned 1588—1629) established trade contacts directly with Europe, but Iran’s remoteness from Europe, behind the imposing Ottoman screen, made maintaining and promoting these contacts difficult and sporadic.»
«The Tabrīz school reached its apogee just as the Il-Khans were being vanquished by the Timurids (1370—1506), the dynasty of the Islāmic conqueror Timur. The school continued to be active in this period, though it was overshadowed by the workshops in Shīrāz and Herāt (see Shīrāz school; Herāt school). When the Ṣafavids came to power at the beginning of the 16th century, however, the ruler Shāh Esmāʿīl brought the master of the Herāt school, Behzād, to Tabrīz, and the school was revived with a radical change in style. The figures were individuals rather than types, and the colours were graded in marvelously subtle shades. Following the removal of the Ṣafavid court from Tabrīz, the school began to decline, and the Kazvin and Eṣfahān schools (see Eṣfahān school) then became the centres of painting in Iran.»
In the course of its long history, Azerbaijan has given the world a number of outstanding thinkers, poets, and scientists. Among the medieval scientists and philosophers, Abul Hasan Bakhmanyar (11th century), the author of numerous works on mathematics and philosophy, and Abul Hasan Shirvani (11th–12th centuries), the author of Astronomy, may be noted. The poet and philosopher Nẹzāmī, called Ganjavī after his place of birth, Ganja, was the author of Khamseh (“The Quintuplet”), composed of five romantic poems, including “The Treasure of Mysteries,” “Khosrow and Shīrīn,” and “Leyli and Mejnūn.”
The people of Azerbaijan have retained their ancient musical tradition. For example, the art of ashugs, who improvise songs to their own accompaniment on a stringed instrument called a kobuz, remains extremely popular. Mugams, vocal and instrumental compositions, are also widely known, the town of Shusha being particularly renowned for this art.
Azerbaijanʼs cultural institutions, including museums, theatres, and public libraries, are located in Baku. Many of them were established after World War II. The city has museums devoted to the art, history, and literature of Azerbaijan. In Nagorno-Karabakh there is a museum with material on the history and archaeology of the Armenian people of the region.
The opera and ballet are widely attended. Some of Azerbaijanʼs composers, notably Uzeir Hajjibekov (the operas Ker-Ogly and Leyli and Mejnūn and the operetta Arshin Mal ʾAlan) and Kara Karayev (the ballets Seven Beauties and The Path of Thunder), have international reputations. The latterʼs symphonic music is also well known abroad.
Throughout the Soviet period Azerbaijani literature was controlled by a system that saw mortal danger in even a modicum of creative freedom. Azerbaijani writers and other intellectuals were closely supervised and subjected to varying degrees of persecution.
Azerbaijan has no private publishing; several government firms publish scientific books and magazines as well as books and magazines about art and literature in Azerbaijani, Russian, and other languages. In 1992 the Azerbaijani government switched from the Cyrillic to the Roman alphabet.
The magazines Literaturny Azerbaydzhan (in Russian), Azerbaijan Gadïnï (“Azerbaijan Woman,” in Azerbaijani), and Azerbaydzhanskoye neftyanoye khozyaystvo (“Azerbaijan Petroleum Economy,” in Russian) have the highest circulation.
Baku has several radio stations, a television studio, and a film studio.
The star points were said to stand for eight traditional Turkic peoples—the Azerbaijanis (Azeris), Ottomans, Jagatais, Tatars, Kazakhs, Kipchaks, Seljuqs (Seljuks), and Turkmen.
Театр Азербайджана происходит от древних азербайджанских народных празднеств и плясок.
{{citation}}: CS1 maint: date format ()From the 15th century and especially from the second half of the 16th century, the Afshan, Lachak-turundj, Goelbendlik and other carpet compositions which were developed in southern Azerbaijan were adopted by the weavers in the towns of northern Azerbaijan (Garabagh, Baku, Shirvan). The floral pattern on which these designs were based were soon transformed into geometric patterns which reflected the local technical and artistic preferences.
According to historical sources, the six Caspian districts of Azerbaijan produced 18,000 rugs and carpet fabrics in 1843. Carpets from Shirvan and Guba were sold in Baku and those from Kazak and Ganja in Tabriz and Istanbul.
The asiq tradition began to take root in Azerbaijani culture as of the 15th-16th century…
{{citation}}: CS1 maint: date format ()Связи с Азербайджаном способствовали возникновению в конце 19 в. у лезгин и светской письменной литературы. Виднейшим её представителем был Гасан-Алкадари (1834—1910) — автор широко распространённой книги „Асари-Дагестан“, написанной в 1892 на азербайджанском языке и представляющей собой свод восточных письменных сведений по истории Д. с многочисленными комментариями, замечаниями и стихотворными вставками самого Алкадарп.
Сулейман Стальский, работая в Дербенте, Гяндже, Баку, Самарканде и других местах Средней Азии, освоил некоторые тюркские языки и позднее создавал произведения не только на родном, лезгинском, но и на азербайджанском языке. Так, на азербайджанском языке им сложено, в частности, стихотворение, прочитанное на Первом всесоюзном съезде советских писателей. В архиве поэта сохранилось на азербайджанском языке двенадцать стихотворений, всего насчитывающих около пятисот строк.
Более того, лезгинскую литературу в Дагестане отличает ещё такой специфический тип двуязычия, как отпочкование от национальной поэзии целого пласта произведений, созданных на азербайджанском языке. Такова значительная часть поэтического наследия Етима Эмина, X. Алкадари; С. Стальский как поэт начал со стихов на азербайджанском языке.
{{citation}}: CS1 maint: date format ()Russian imperial expansion in the late 13th/19th century opened the Caucasus to the West, and what had been a modest local weaving industry evolved into a major source of exports. The main weaving zone was in the eastern Transcaucasus south of the mountains that bisect the region diagonally (see Figure 1), the area now comprised in the Azerbaijan SSR; it is the homeland of a Turkic population known today as Azeri (see AZERBAIJAN vi. Population and its Occupations and Culture). Other ethnic groups also practiced weaving, some of them in other parts of the Caucasus, but they were of lesser importance.
On the other hand, many Azeri words (about 1,200) entered Persian (still more in Kurdish), since Iran was governed mostly by Azeri-speaking rulers and soldiers since the 16th century (Doerfer, 1963—1975); these loanwords refer mainly to administration, titles, and conduct of war. This long-lasting Iranian-Azeri symbiosis must be borne in mind if one is to understand the modern history of Iran and its language correctly.
To make this daʿwa more effective, Esmāʿīl addressed to his Turkman followers simple verses in the Azeri dialect of Turkish, using the pen name (taḵalloṣ) of Ḵaṭāʾī (see ii). These poems provide incontrovertible proof that Esmāʿīl encouraged his disciplesto consider him a divine incarnation
The art music of Azerbaijan is connected with the Irano-Arabo-Turkish art of the maqām, of which the great theoreticians were notably Ṣafī-al-dīn Ormavī (d. 693/1294) and ʿAbd-al-Qāder b. Ḡaybī Marāḡī (d. 838/1435), who were originally from Urmia and Marāḡa in Azerbaijan.
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.
BĀLĀBĀN, a cylindrical-bore, double-reed wind instrument about 35 cm long with seven finger holes and one thumb hole, played in eastern Azerbaijan in Iran and Soviet Azerbaijan (where it is also called düdük).
Azeri Turkish name for an Iranian dish usually called ābgūšt-e sabzī
In his Population of Soviet Armenia, published in 1932, Z. Korkodyan reports that in the 19th and early 20th centuries, about 2000 cites of the total 2310 were of Turkish origin.
{{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format ()Говоря о возникновении азербайджанской культуры именно в XIV-XV вв., следует иметь в виду прежде всего литературу и другие части культуры, органически связанные с языком. Что касается материальной культуры, то она оставалась традиционной и после тюркизации местного населения. Впрочем, наличие мощного пласта иранцев, принявших участие в формировании азербайджанского этноса, наложило свой отпечаток прежде всего на лексику азербайджанского языка, в котором огромное число иранских и арабских слов. Последние вошли и в азербайджанский, и в турецкий язык главным образом через иранское посредство. Став самостоятельной, азербайджанская культура сохранила тесные связи с иранской и арабской. Они скреплялись и общей религией, и общими культурно-историческими традициями
{{citation}}: CS1 maint: date format ()There is such a legend about the Turaji dancing. Once upon a time Najafgulukhan, the khan of the Garabagh khanate, had a very beautiful dancer and khan always valued her beauty and ability. One day in the wedding of the khan’s son this dancer demonstrates very mastery miracles of dancing. The khan admiring the view says loudly: -You are dancing as turaj (partridge).
{{cite magazine}}: Cite magazine requires |magazine= (yordam)CS1 maint: date format ()Azerbaijan is a secular country, in article 48 of its Constitution ensures the liberty of worship to everyone. Everyone has a right to choose any faith, to adopt any religion or to not practice any religion, to express one's view on the religion and to spread it. According to paragraphs 1-3 of Article 18 of the Constitution the religion acts separately from the government, each religion is equal before the law and the propaganda of religions, abating human personality and contradicting to the principles of humanism is prohibited. At the same time the state system of education is also secular. The law of the Republic of Azerbaijan (1992) "On freedom of faith" ensures the right of any human being to determine and express his view on religion and to execute this right.
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{{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format ()From the 15th century and especially from the second half of the 16th century, the Afshan, Lachak-turundj, Goelbendlik and other carpet compositions which were developed in southern Azerbaijan were adopted by the weavers in the towns of northern Azerbaijan (Garabagh, Baku, Shirvan). The floral pattern on which these designs were based were soon transformed into geometric patterns which reflected the local technical and artistic preferences.
According to historical sources, the six Caspian districts of Azerbaijan produced 18,000 rugs and carpet fabrics in 1843. Carpets from Shirvan and Guba were sold in Baku and those from Kazak and Ganja in Tabriz and Istanbul.
1.6. The most-widely accepted classification of Azerbaijani dialects developed by Shiraliyev, divides them into four categories: Eastern: Guba, Baku, Shamakhy, Mugan, Lankaran; Western: Gazakh, Garabagh, Ganja, Airym; Northern: Shaki, Zagatala-Gakh; Southern: Nakhchivan, Ordubad, Tabriz, Yerevan.
The asiq tradition began to take root in Azerbaijani culture as of the 15th-16th century…
{{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format (){{citation}}: CS1 maint: date format ()There is such a legend about the Turaji dancing. Once upon a time Najafgulukhan, the khan of the Garabagh khanate, had a very beautiful dancer and khan always valued her beauty and ability. One day in the wedding of the khan’s son this dancer demonstrates very mastery miracles of dancing. The khan admiring the view says loudly: -You are dancing as turaj (partridge).
{{citation}}: CS1 maint: date format ()Театр Азербайджана происходит от древних азербайджанских народных празднеств и плясок.
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