Cultural heritage Arasbaran

1 cultural heritage

1.1 mythology

1.1.1 vergi
1.1.2 toğs; relics of ashura day?


1.2 arasbaran dogs
1.3 arasbaran carpet
1.4 ashughi music , qaradağ s contribution

cultural heritage

the pahlavi era dark period cultural identity of arasbaran. rezā shāh, insisting on ethnic nationalism , cultural unitarism, implemented policies of forced detribalisation , sedentarisation. renamed qaradağ arasbaran deny turkic identity of inhabitants. moreover, education , publication in azerbaijani turkish language banned , writers of azerbaijan had write in persian, medium was, perhaps, not adequate recording subtleties of qaradağ s native culture has evolved under influence of turkish language. language, has rare , unusual point of grammar called hearsay tense. consequently, in turkish speaking society boundary between private , shared memories becomes fuzzy, , magnitude of time lapse between events shrinks. ideal feature generation of oral cultural artifacts, particularly mythology, epics , folkloric music.

a rare opportunity recording , preserving qaradağ s culture provided innovative method shahriar in famous verse book, heydar babaya salam adopted summarize cultural identity in concise poetic form. generation of lesser known poets arasbaran used similar approach perpetuating region s oral traditions. remarkable examples mourning sabalan abbas barez, , hail qizil qala h seifollah delkhon. example mohamad golmohamadi s long poem, titled madly in love qareh dagh (قاراداغ اؤلکه‌سینین گؤر نئجه دیوانه‌سی ام), concise description of region s cultural landscape.

mythology

the inhabitants of every village attribute spiritual importance @ multiple sites, scattered throughout village territory. these places, known ojaq, located in areas rapid variation on land topography, , in way linked djins via established narratives. of these sites possess conspicuous landmark. @ sites, considered sacred many villages, people gather slaughter sacrificial animals or offer simple meal of freshly baked bread , cheese tea. @ sites, have collected medium-sized rocks around trees , hang coloured threads or ribbons trees.

in villages, there sites narrative associations, not considered sacred. these sites in secluded locations formed natural topography of landscape. narratives involve bears principal subject. main theme of narratives following. male bear kidnaps blackberry picking pretty girl , takes den. hybrid child born, girl runs away @ first opportunity leaving lamenting bear entreatingly crying lost wife.

according myth wolf found symbol of merciless power able destroy everything. if human being touches it, whatever frightens him/her frustrated.

vergi

vergi, meaning gift, perceived ability performing extraordinary feats such prophesy or healing, supposedly can received god or shia imams. believed vergi inherited , not learned. instance, there family in vayqan among whom vergi catching snakes transmitted generation generation. sometimes, vergi claimed received in dreams. often, received in ojaqs ghosts show , talk gifted. believed there no escape vergi , that, @ first, generates suffering comparable shamanistic illness.

toğs; relics of ashura day?

ashura, 10th day of lunar month muharram, day @ mourning celebrations commemorating imam husayns martyrdom reach climax. in many villages of qaradağ, palm sized metallic icons fixed on medium-sized wooden handles, locally known toğs, harbingers of exact hour when husayn killed; allegedly, relapse utter in-animation following ten days of relentless erratic movements @ hands of carriers (alamdars). tuğs – believed sisters – housed in mosques , revered inhabitants of neighbouring villages. unfortunately, there no systematic studies or first hand reports on these fascinating relics. still, every year, ritualistic obligation, expatriates flock said villages receive blessings of sacred day in company of sacred toğs. in accompanying photo 2 persons holding toğ can seen, surrounded mourners beating on legs. 1 toğ kept standing still in centre. seems other toğ performing erratic motions , pulling holder.

arasbaran dogs

orhan pamuk in 2001 turkish novel, name red, gives vivid description of turkic people s love-hate attitude towards dogs. every summer, real life version of description in display in chaparli. each family has 2-5 dogs, characteristic cropped ears , tails. dogs fed generous portions of milk soaked bread. when sheep herds brought milking near tents, dogs sleep around camp of day. inhabitants treat beasts utter respect, manner loathed more pious villagers of region pagan act. between dusk , down dogs regain vicious character; strangers have avoid crossing campsite otherwise attacking dogs cannot controlled owners. fending off dogs beating considered act of aggression towards owner , should avoided. in fact of feuds between settled villagers , pastoralists dogs.

arasbaran carpet

carpet weaving stands out acme of azeri art , people of arasbaran have contributed artistic tradition. arabaran carpet hybrid between persian carpet , azerbaijani rug. there indigenous styles well. instance, carpets known balan rugs had size of approximately 1x4 m , characteristic pattern.

the acme of carpet weaving art in arasbaran manifested in verni, originated in nagorno-karabakh. verni carpet-like kilim delicate , fine warp , weft, woven without previous sketch, creative talents of nomadic women , girls. verni weavers employ image of birds , animals (deer, rooster, cat, snake, birds, gazelle, sheep, camel, wolf , eagle) in simple geometrical shapes, imitating earthenware patterns popular in prehistoric times. key décor feature, intrinsic many vernis, s-element. shape varies; may resemble both figure 5 , letter s. element means “dragon” among nomads. @ present, verni woven girls of arasbaran tribes, in same room nomadic tribes reside, , significant income source 20000 families. verni weavers employ image of birds , animals in simple geometrical shapes, imitating earthenware patterns popular in prehistoric times.

ashughi music , qaradağ s contribution

these opening verses of contemporary ashug song, composed məhəmməd araz, may represent essence of qaradağ s cultural identity; frequent allusions mountain intention of arousing emotional state tone of mild melancholy- state expressed ashughi music.

a century long autocratic nation building policies of pahlavi era in iran has succeeded in cultural assimilation in favor of government sanctioned culture. mountainous region of qaradağ, however, relatively escaped demise due remoteness , inaccessibility. many elements of indigenous culture, particularly local music, have survived present day. more slow persistent cultural revival has been in progress , inhabitants along city dwelling relatives perceive awareness of common cultural roots inhabitants of eastern turkey , azerbaijan republics,where cultural renaissance underway since collapse of soviet union. ashughi music cornerstone of shared identity.

the number of ashughs has increased after aşiq imran heydəri (عاشیق ایمران حیدری) started accepting pupils academic style classes in tabriz. imran s efforts shifted general impression of ashugh music association nomadic life in mountains music suited performances in urban settings. @ present, de facto representative of ashughs aşiq rəsol qorbani abbasabad village.