Karabakh attire – A valuable heritage embodying the identity and aesthetic worldview of our people - INTERVIEW
Baku, February 11, Fidan Alizade, AZERTAC
Azerbaijani national attire is one of the key elements representing the country’s rich cultural heritage, refined taste, and historical traditions. The national costumes unique to each region not only attract attention with their aesthetic beauty but also reflect the way of life, social status, and ethnographic characteristics of the people. Throughout history, Azerbaijani national attire has evolved under the influence of different eras while preserving its uniqueness. Today, preserving and passing down these garments to future generations remains one of the most important cultural missions. This was highlighted in an interview with AZERTAC by Ilhama Gasabova, a leading researcher at the Institute of Folklore of the National Academy of Sciences of Azerbaijan, PhD in Philology, and Associate Professor.
Discussing the main characteristics of Karabakh’s national attire, Gasabova noted that clothing developed over different historical periods and was influenced by lifestyle, economic activities, natural and geographical conditions, and the aesthetic preferences of the people. Notably, clothing not only met daily needs but also indicated social status, marital status, and even age group. For example, young girls preferred bright and attractive colors, while older women chose darker shades. Decorative elements played a special role in Karabakh clothing. Elegant embroidery, as well as chepkens (embroidered women’s garments with long, slit sleeves) adorned with gold and silver coins, were key distinguishing features.
- Ms. Ilhama, what were the differences between men’s and women’s clothing in Karabakh?
- Women's clothing in Karabakh was divided into two main categories: undergarments and outerwear. Undergarments included items such as shirts, pantaloons, and jyutbalag (wide trousers). These were comfortable and loose-fitting to allow freedom of movement. Outerwear was mostly made from expensive fabrics like satin, tirma (a fine wool or silk fabric woven by hand), and zarhara (brocade), often adorned with patterns and embroidery.
- Ms. Ilhama, what were the differences between men’s and women’s clothing in Karabakh?
- Women's clothing in Karabakh was divided into two main categories: undergarments and outerwear. Undergarments included items such as shirts, pantaloons, and jyutbalag (wide trousers). These were comfortable and loose-fitting to allow freedom of movement. Outerwear was mostly made from expensive fabrics like satin, tirma (a fine wool or silk fabric woven by hand), and zarhara (brocade), often adorned with patterns and embroidery.
Men’s clothing, on the other hand, was more structured and formal. Men wore shirts, jubba (robes), chokha (a traditional upper garment with a high collar and elbow-length sleeves worn by some Caucasian peoples), and caftans. Men's attire was designed to be both practical and suitable for the social and military requirements of the time. The chokha was one of the most significant elements of men’s clothing, with several variations such as the standard chokha and the nine-gore chokha. Among headwear, the most common types were chalma, dolbend (a turban-like headpiece resembling a tulip), berk, and kulakh (both variations of traditional papakhas).
- You mentioned the colors and ornaments in Karabakh’s national clothing...
- In Karabakh clothing, color held special significance. Red, green, and blue were mainly worn by young brides and girls, while older individuals preferred blue, dark brown, purple, and black garments. Popular ornaments in the Karabakh region included the moon and sun, star, buta (paisley), bud, and agramant patterns. Since the 17th century, chepkens adorned with coins have been an essential part of women’s attire, further embellished with beads and tassels.
- What fabrics and materials were used in national costumes?
- The highest quality fabrics were used in Karabakh clothing. Women’s garments were often made from luxurious materials like satin, brocade, and kanaus. However, for everyday wear, white fabrics dyed in different colors with mitkal (a type of calico), cotton, and satin were commonly used. Men’s clothing primarily featured wool and velvet, which provided insulation against both cold and heat, making them suitable for Karabakh’s climate.
Karabakh clothing was categorized into two main types: everyday wear and festive attire. Everyday clothing was simple, comfortable, and practical, made mainly from cotton and wool without or with minimal decorative elements. Festive and wedding outfits, on the other hand, were more opulent, embroidered with gold, and crafted from satin, velvet, and brocade. The bride’s attire was particularly lavish and meticulously crafted with jeweler-like precision.
- Special attention must have been paid to accessories in these outfits?
- Accessories held a special place in Karabakh clothing. Women’s headpieces included taj (crown), tesek (skullcap), chutgu (bonnet), aragchin (another type of skullcap), dinge (a kokoshnik-style headdress), rubend (veil), charshab (chador), duvag (bridal veil), and kelaghayi (silk scarf). Particularly fashionable were aragchins decorated with coins.
For men, headwear was a symbol of honor, and losing or selling one’s hat was considered disgraceful. Women wore delicate necklaces, earrings, and gold belts. Gold and silver decorative elements were an integral part of the attire of wealthy women.
- What steps are being taken to preserve and pass on our national clothing to future generations?
- Significant efforts are being made today to preserve and pass down Karabakh’s national clothing. The National History Museum of Azerbaijan houses rare examples of garments, including outfits belonging to Khurshidbanu Natavan. Additionally, the revival of Karabakh clothing in theater and cinema, as well as its display in folk dances and national events, contributes to its preservation.
Karabakh’s attire is not only a cultural artifact but also a valuable heritage that embodies the identity and aesthetic worldview of our people. It is our duty to preserve this legacy and pass it on to future generations.
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