User:Agulani/sandbox

To do list: https://en.wikipedia.org/w/index.php?title=Allies_of_World_War_I&diff=prev&oldid=660867442 https://en.wikipedia.org/wiki/Nagorno-Karabakh_War#cite_note-Demoyan-20 https://en.wikipedia.org/wiki/Doogh https://en.wikipedia.org/wiki/Tandoor#Armenian_tonir https://en.wikipedia.org/wiki/Caucasus_Campaign

Agulani
Agulani - Ancient Elite Horse Lancer from Azerbaijan and Arran were mentioned during siege of Antioch by Peter Tudebode during Siege of Antioch. As he went on to describe them

''Indeed, Curbara likewise collected countless pagan folk, Turks, Arabs, Saracens,Publicani, Azimites, Kurds, Persians, Agulani and countless other peoples. The Agulani were three thousand in number and feared neither lances, arrows, nor any kind of arms, because they and all their horses were fitted with iron all around, and they refused to carry any arms except swords into battle. All of these came to the siege of Antioch to disperse the gathering of Franks. '' Despite, being mentioned several times dring siege of Antioch, the elite warriors after that dissapear and are rarely hear "Three Thousand of those who were called Agulani were said to be present, and they were afraid neither of swords, lances, arrows, nor any kind of arms, because they and their horses were covered with armor everywhere. In battle the only weapons they used were their swords" was the commentary of Peter Tudebode, a priest of Poitou, France, who had born witness to the terrible presence of the Agulani Horsemen in the Seljuk armies at the siege of Antioch in the First Crusade."

Karabakh Carpet
Karabakh carpet is one of four major regional groups of carpets made in Azerbaijan named after the Karabakh region, which comprises present Nagorno-Karabakh and adjacent lowland territories ('lowland Karabakh'). Karabakh capret making were added to UNESCO’s Representative Masterpiece of Intangible Heritage as part of Azerbaijani Carpets.

Carpet-weaving in Karabakh especially developed in the second half of the nineteenth century, when the population of many areas in Karabakh was engaged in carpet-weaving, mainly for commercial sale purposes. At this time Shusha (Shushi) became the center of the Karabakh carpet-weaving.

Types
Besides usual carpets, carpet bags and coverlets of different types were widely spread. These included pileless məfrəş (translit. mafrash, a trunk); xurcun (translit. khurdjun, a doubled travel bag); heybə (translit. heiba, travelling bag); çuval (transli. chuval, sacks for holding loose products); çul (chul, all kinds of coverlets); yəhər üstü (translit. yahar ustu, saddle cover) and other objects.

Azerbaijan
Azerbaijan carpets are traditionally divided into four types, so-called “carpet schools”, all of which have distinct characteristics. These carpet schools are: 1) Guba-Shirvan with manufacturing centers in Guba, Shirvan region and Baku; 2) Ganje-Kazakh, with centers in Ganje town and Kazakh region; 3) Karabakh (with major centers in Shusha, surrounding villages; and 4) Tabriz with centers in Tabriz and Ardebil in South (Iranian) Azerbaijan.The carpets from various regional types differ by three features: ornaments, manufacturing technique and the kind of article in question. Karabakh carpets comprise 33 different compositions in total. Some of the were partly borrowed from the Tabriz and Iranian carpet schools, some are completely original.

The Karabakh or Qarabagh carpet school developed in two areas: in lowland and mountainous parts of Karabakh. The last one often and the most renowned one is often called “the Shusha carpet group”. Besides Shusha, the surrounding villages of Dashbulag, Dovshanly, Girov, Terniviz, Malibayli, Chanakcha, Tun, Tuglar, Hadrut, Muradkhanly, Gasimushagi, Gubatly, Gozag, Mirseid, Bagirbeyli, Khanlig, Tutmas were also known for their rugs. Each village developed original design and ornaments and had specific characterization which distinguished them from one village to another. In lowlands carpet manufacturing was based in Jabrayil, Horadiz, Barda and Agdam (most notably, Lambaran village).

Karabakh was famous for its pileless carpets,starting with traditional Turkic Kilim it slowly evolved into different more elaborate types of ornaments such as shadda, zili, verni and palas products. High artistic taste is typical also for Karabakh jejims from the Lambaran village (near present-day Agdam). Jejims were a popular decoration material for house interiors and were used in Karabakh for producing pillows and pillowcases, tablecloths, curtains, coverlets. Besides usual carpets, carpet bags and coverlets of different types were widely spread. These included pileless mafrash (a trunk); khurdjun (a doubled travel bag); heiba (travelling bag); chuval (sacks for holding loose products); chul (all kinds of coverlets); yahar ustu (saddle cover) and other objects.

Carpet-weaving in Karabakh especially developed beginning from the second half of the 19th century, when the population of many areas in Karabakh was engaged in carpet-weaving, mainly for commercial sale purposes. At this time Shusha became the center of the Karabakh carpet-weaving.Karabakh and Shusha carpets have greatly influenced the Nakhchivan and Zangezur schools of carpets. Some experts actually consider these schools to be sub-categories of the Karabakh carpet school.Shusha‘s carpet-weavers, Meshedi Bayram Gurban-oglu, Djabbar Haji Akber-oglu, Fatima Aga Sherif-gizi, Ahmed Dashdamir-oglu participated and were awarded prizes in an international show in Paris in 1867. Shusha carpets also received awards in 1872 in Moscow Polytechnic Exhibition.

Distinguishing marks
Due to the specifics of the local sheep breeds the Karabakh carpets were known for their dense and fluffy pile. They distinguished from other Azerbaijan carpet schools by their artistic and technological ways of production and their size. These carpets are known for their vivid and flamboyant colors, symbolizing the nature of Karabakh. The ornaments widely utilize flower and vegetative motives made in geometrically symmetric manner.

The Karabakh carpets are also usually big in size, and have an oblong shape, because people in Karabakh have traditionally lived in big, oblong rooms and these carpets were placed in floors and walls not only for aesthetic but also to protect from winter freeze.

Another distinctive characteristic for the Karabakh carpet school is having three-five big carpet sets, so called "dasts". These sets (dasts) consist of a large central carpet, two side rugs and one head piece, all united in a single composition. In old times these carpet sets used to be the main articles of bride's dowry in both Azeri and Armenian families.

Museums
Some of the famous Karabakh carpets are presently kept in various museums of the world. A Karabakh silk carpet (zili) of the 16th or 17th century made in Barda is currently kept in Berlin in the Museum of Arts. The Boston Museum of Fine Arts holds a Shusha carpet of the 18th century. US Museum of Textiles possesses a Shusha carpet of the 18th century, called "Afshan", and the Metropolitan museum in New York has in its collection a Karabakh carpet of "Verni" group. A unique collection of Shusha and Karabakh carpets is currently kept in the State Museum of Carpet in Baku, Azerbaijan. Most of the collection in this museum was originally kept in Shusha Carpet Museum. In 1992 not long before the town’s occupation by the Armenian military forces, the Shusha museum’s director, arranged for 600 carpets to be evacuated from the town in army vehicles. Today the carpets can be found at the Baku museum in an exhibition titled “Burnt Culture.”

Sari Gelin (Armenian: Սարի Աղջիկ Sari Aghjik), (Azerbaijani: Sarı Gəlin/ساری گلین), (Turkish: Sarı Gelin) is the name for a number of folk songs popular among the people of the southern Caucasus and eastern Anatolia. All versions of the song use the same melody and are written in Bayati genre; but sing different lyrics. The consensus about its country of origin is contested.

"Sari Gelin" or "Sari Aghjik" is either a blonde tall girl or a girl from the mountains, depending on the respective lyric language. What the versions have in common, is a boy complaining to/about a girl he loves but cannot achieve.

Etymology
'Sarı'' as a Turkic adjective means "yellow." Thus Sarı Gəlin can mean "golden", "blonde" or "fair-skinned" bride. In Azerbaijani it may also refer to a person’s soul.

Sarı as a Turkic adjective means "yellow." Thus Sarı Gəlin can mean "golden", "blonde" or "fair-skinned" bride. In Azerbaijani it may also refer to a person’s soul. Sarı may also be derived from the Armenian word Sari.

The word Gəlin in Azerbaijani and Turkish means someone who comes to the family (i.e. a bride), with its root in the Turkic word Gel (meaning "Come"). It is a common loan word from Ottoman Turkish among the non-Turkic population of the Ottoman Empire, like Armenians and Kurds. In some Armenian versions of the song, the Armenian word Aghjik (Girl) is used instead.

Sarı may also be derived from the Armenian word Sarı (սարի), meaning "of the mountain," which is the meaning used in the Armenian versions of the song ("Girl/Bride from the mountains"). In Armenian, the song is known as Sari Aghjik. The Armenian word Sari (սարի), meaning "of the mountain," while the word “aghjik,” with an equal syllable number, meaning “bride” or "girl" and is often pronounced as gyalin. Together they mean "Girl/Bride from the mountains".

Versions
All versions of Sari Gelin use the same melody and are written in the literary genre known as Bayati, which is one of the most popular forms of poetry in Azerbaijan and Turkey. Bayati poetry is known for its reflective and introspective prose. Generally, Bayati poetry consists of lines of seven syllables written in a simple rhythm. However, There are many different lyrical interpretations of Sari Gelin among Armenians, Azerbaijanis, Georgians, Persians, and Turks. The song is a subject of contention and accusations of plagiarism among the countries where it is popular. At the moment, there is no consensus about its country of origin.

In Armenia there are two versions of the song:

Armenian Sari Gyalin
Sari Gyalin (Mountain bride) versions which uses the Turkic loan word for bride (gelin) such as:
 * The clouds pieces pieces, maid of the mountain.
 * I could not have the one I loved,
 * Ah, let your mother die (or, 'curse your mother'), maid of the mountain.
 * There you are white like milk, maid of the mountain.
 * You look like an opened rose,
 * Ah, let your mother die, maid of the mountain.

A longer but less common variation is as follows:

Armenian Sari Aghjik
Sari Aghjik (Mountain girl) versions which use the same melody with the Armenian word for the girl(aghjik աղջիկ) such as the song Vard Siretsi ("I loved a rose"). Thy lyrics translates to: The phrase "Don't pour poison into (salt on) my wound" is an idiom which means "don't make my troubles worse".

Azerbaijani Sarı Gəlin
In Azerbaijan, Sarı Gəlin (Blond Maiden) is a legend that symbolizes the love between a Muslim Azerbaijani and a Christian Kipchak girl who are kept apart. "seni mene vermezler" (They will not give you to me) is Referring to this story. lyrics translate to:

Azerbaijani version of the song was processed and pitched by Azerbaijani composer Asaf Zeynally (1909-1932).

The text of the song in Azerbaijani language was published in 1982 in Baku under the edition of Hamid Arasly. In 2001 the Azerbaijani text of the song was published by Rafik Babayev.

The Azerbaijani version by the Iranian Hossein Alizadeh and the Armenian Jivan Gasparyan sometimes use the Turkish line "Sarı Gəlin aman!"; and ends with the first paragraph of the Persian version.

Azerbaijani long version
DayIrMan's CD "Leyla va Deyirman", sings a longer Azerbaijani version, which translates to:

Turkish Sarı Gelin
Sarı Gelin is a popular folk story in Turkey. a. In Turkey, it is often considered to bout an impossible love between Turkish man and an Armenian girl from Erzurum.

Parallels
While the Persian version is completely different, there are notable similarities between Armenian, Azerbaijani and Turkish version:
 * The girl is from mountainous regions. The Turkish version boy encounters the girl in Erzurum market and suggests that she is from Palandöken mountain. The Armenian version girl is "sari" (from the mountain). and the Azarbaijani version boy calls the girl "tallest in the valley" and "sheperd".
 * The girl is blonde. In Azerbaijani and Turkish versions "Sari" means yellow. in the Azerbaijani version, where the story is about a Muslim boy in love with a Christian girl, It makes sense for "Sari" to mean blond, as it is a notable characteristic among predominantly dark haired people.
 * The girl is tall, as Azerbaijani "uzunu" (the tallest) and Turkish "suna" (male duck. here: tall and beautiful) correspond.
 * The boy says "aman!". The Arabic word "aman" (secure me / help / please) is an exclamation of lasting pain and long distress. It is used in Azerbaijani "neynim aman, aman" (what do I do? please!), Turkish "Leylim aman" (my Leyli, please!) and Armenian "dle aman" (my heart, please!).
 * The boy and the girl are apart as told in Azerbaijani story, Azerbaijani line "seni mene vermezler" (They won't give you to me / let me marry you), Armenian Sari Gaylin line "I could not have the one I loved". Turkish line "I won't give you [up] to others" and In Armenian Sari Aghjik line "She left and chose someone else".
 * The girl is called Leyli in Turkish line "leylim aman aman" (my leyli, please!) and the Armenian Sari Aghjik line "Leyli janin yar" (Leyla dear beloved). but this particular line is a persian phrase referring to Layla the famous beloved. This can mean:
 * The girl is beloved, as Leyli is the famous object of desire.
 * The girl's name is Leyli
 * The girl is insanely loved, but is impossible to get; especially if similarity to Romeo & Juliet is noticed, as widely done by Turks.
 * The boy says "may your grandmother die" in Armenian and Turkish versions. It may be:
 * A curse.
 * That grandmother might have a real role in parting the lovers.
 * The girl may have been taken away from the boy, and even given to someone else: In the last part of Turkish lyric found in some sources, the boy says "I won't give you [up] to others", and in some of its variations, the girl write's the boy's death sentence. In the Persian version the girl is unkind and flees away. Both Armenian versions, are about the boy complaining that the unkind girl have rejected her. In Armenian Sari Aghjik, The girl have chosen someone else over him.

If the statements are taken as complementary rather than just similar, the Muslim Turk (language of both Azerbaijan and Turkey) boy has fallen in love with a Christian Armenian/Kipchak blond maiden from the mountains and valleys, probably close to Palandöken; But they are kept apart, and the unkind girl is taken away, causing the boy to lament and curse frequently.

Cultural impact
In Armenia
 * In 2013 Armenian singer Andre, who represented Armenia at the Eurovision Song Contest 2006 released his version of "Sari Aghjik" (Սարի աղջիկ) and also shot a music video for the song.
 * Armenian recording artist Emmy, who was the Armenian representative at the Eurovision Song Contest 2011 also released her own version of the song and shot a music video for it in 2014.

In Azerbaijan
 * The story has been retold by the prominent early 20th Century Azerbaijani poet and playwright Huseyn Javid in his play Sheikh Sanan (1914) featuring a Muslim boy and a Christian girl.


 * The story has also been adapted into a film directed by Yaver Rzayev called Sari Gelin (1999).; which was Azerbaijan's first feature film, shown in 2000 at the London and Karlovy Vary Film Festivals. It is about the country's fight with Armenia. The protagonist, is a boy named Gadir. he has a vision of a bride dressed in yellow, which in both cultures is a symbol of death and the cruelties of fate.


 * There is an Azerbaijani musical ensemble called "Sari Gelin";


 * Azerbaijani artist Safura, who was the Azerbaijani representative at the Eurovision Song Contest 2010 released her own version of the song.


 * Latvian artist Anmary, who was the Latvian representative at the Eurovision Song Contest 2012 during her visit in Azerbaijan also released her own version of the song and shot a music video for it in 2012 in Baku.


 * On 18 December 2013 during the concert of Italian singers, which was held at the Baku Crystal Hall, one of the most popular Italian singers Toto Cutugno sang Sari Gelin in Azerbaijani language.


 * On 23 November 2014 during the concert Lara Fabian, which was held at the Heydar Aliyev Palace sang Sari Gelin in Azerbaijani language.


 * In 2014 Azerbaijani orign British singer Sami Yusuf has sung and released versions of Sari Gelin in the Azerbaijani and English languages.


 * In 2014 Azerbaijani dancer Oksana Rasulova presented music video "Sari Gelin".

In Turkey
 * The Turkish multiethnic / multicultural formation Kardeş Türküler recorded it as "Sari Gyalin (Dağlı Gelin)" in their 1997 self-titled album Kardeş Türküler on Kalan Ses Görüntü label.
 * A controversial documentary with the same title as the song (due to it being linked to Armenians in Turkey) was distributed in Turkish schools wit thhe Turkish version of what happened during the Armenian Genocide. It received several criticism from Armenia.

International
 * In 2014, British Azerbaijani Muslim singer Sami Yusuf recorded a bilingual version, mainly in English but ending with Azerbaijani lyrics on his 2014 album The Centre released on Andante Records.

Symbol of "Azerbaijani-Russian Friendship"
Astrakhan recently has been playing a big role in the relations of both counties as Azerbaijani government has been heavily investing into the well being of the city, Astrakhan has recently began to symbolize the friendship nature of both countries. in 2010 a bridge was constructed with donations from Azerbaijan which was name bridge of friendship. Moreover, Azerbaijani government sponsored a secondary school number 11 which carries the name of the national leader Heydar Aliyev as well as the children entertainment center named "Dream". Apart from that Astrakhan also has a park dedicated to friendship between the countries. In total last 5 years Astrkhan has been visited by top Azerbaijani delagtions on several occasions.


 * Heydar Aliyev Park in Astrakhan
 * "Drujba" Youth Center
 * Opening of School by Heydar Aliyev Foundation
 * Friendship Bridge