Armenian–Azerbaijani cultural relations
[1] 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.
Khachatur Abovian, Perch Proshian and Ghazaros Aghayan said that they used can-gulum and other forms of ashug poetry performed in Armenian and Azerbaijani folk ceremonies.
Famous examples include Horomsime Akuletsi, Miran, Seyyad, Miskin Burcu, Hpvakim Markaryan and Shirin.
Dellek Murad, ashug of 17th century wrote qoshma, ustadnameh and qifilbends in Azerbaijani.
[20][21] But likewise Azeri music is played among the Armenians, who have adopted the system of mugham and the instrument Azerbaijani Tar.
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.
[30] A relevant theory suggests that Armenians from Erzerum, brought the song to the Caucasus during the Ruso-Turkish Wars of 1828 making it popular in Eastern Armenia and Azerbaijan.
The Armenian Kochari has been included to the List of Intangible Cultural Heritage in Need of Urgent Safeguarding of UNESCO in 2017.
[38] 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.
Later Magalyan played Asker (main character of the comedy) also in Georgian, Azerbaijani and Russian.
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.
[51]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.
It was played on the stages of New York, Philadelphia, Detroit, Chicago, Cleveland, Boston, Racein, Los Angeles, Fresno, San Francisco.
[54][52] The dance-music for Shalakho which was first arranged and recorded by Armenian composer Nikoghayos Tigranyan[55] was performed in the first Azerbaijani ballet called Maiden Tower and gained nationwide popularity in Azerbaijan.
[52] 1988 Ashik Kerib film by Dodo Abashidze and Sergei Parajanov was based on an Azerbaijani legend record by Mikhail Lermontov.
[60] Sergei Parajanov also used Azeri poem of Sayat Nova in Arabic script in his The Color of Pomegranates movie.
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.«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.»
