Azerbaijani national dress – the people’s material and spiritual culture have emerged as a result of a very difficult and long process of development. The ethnic history of the Azerbaijani people, the artistic features of the people’s creativity, their various shapes, artistic ornamental patterns and weaving are reflected in national costumes. As the fields such as silkworm breeding and cotton production continue to grow, production of fabric that plays a special role in the national costumes has increased, and as a result, the national dresses were revived. National clothes play a role in the development of a set of decorative applied art, as well as other samples, parts of the Far Eastculture, and many other decorative samples.
Ethnographic, historic and artistic features of the national creativity, which were also used in creation of determined forms of it, are reflected on costumes. Azerbaijani arts reminds about itself also in ornaments of costume with artistic embroideries, in weaving and knitting.
In the 17th century, the territory of modern Azerbaijan was considered the main sericulture oblasts of the Near East and Shirvan was the main region of sericulture. Silks were produced in Shamakhi, Basqal, Ganja, Shaki, Shusha and in other regions. Fine textiles, silk head kerchiefs for women with ornaments of amazing beauty and others were produced in these cities.
Style of clothes reflected marital status and age of its owner. For example, the costume of a girl and a married woman were different; young women wore more colorful dresses.
Since the 20th century, national costumes in Azerbaijan are worn mostly in villages. Almost all national dances are performed in national costumes.
Male national costume actually was single in all zones of Azerbaijan. Class distinction the owner was reflected on male costumes.
National outerwear for men consisted of “ust koyney” (shirt) or chepken, arkhalig, gabi and chukha (humeral wear).
Arkhalig – was single-breasted or two-breasted. It was sewed of silk, cashmere, cloth, satin and other textiles.
Gaba – male humeral outerwear, which was sewed of tirme.
Chukha – male humeral outerwear, which was detachable on the waist, with layers and gathers. It was sewed of cloth, tirme and homespun textile.
Kurk – fur coat made of lamb fur, without fastener, with collar, decorated with embroidery.
One of the Russian ethnographers writes about Azerbaijani male costume:
Underwear consists of straight and short shirts of coarse calico, white and mostly dark blue colors with underpants of this very material, which are fastened with tapes on the waist; in winter they are worn over woolen large pants, which are also fastened with tapes. Over a shirt is worn arkhalig made of cotton. Arkhalig is such as Russian man’s long tight-fitting coat with short waist and short skirt with gathers on the belt; it is always fastened tightly or in the midst or aside of the chest. Chukha is worn over arkhalig with short waist and with a skirt with length of below knees, but the head is covered with small conic shaped hat made of lamb fur, throughout the year. Short woolen socks are worn to feet.
Papaq was considered a symbol of fortitude, honor and dignity of men in Azerbaijan and losing it was considered as a disgrace. Larceny of papaq was considered as a hostile action against its owner. It was possible to outrage a man and all his generation by knocking down papaq from his head. Social dignity of papaq’s owner could be determined by its form. Men never took their papaqs off (even during dinner), except voodoo before salat. Appearance in public places without headdress was considered an indecent action.
Papaqs made of lamb fur or karakul was the main headwear for men. They had different forms and local names. According to E.Torchinskaya, there have kept 4 types of Azerbaijani papaqs in the State Hermitage Museum of Saint Petersburg:
Yappa papaq (or “qara papaq” – “black papaq”) – was widely spread in Karabakh and was covered with textile. They were differed by color – “gizil papaq” (golden) and gumush papaq (silver).
Motal papaq (or “choban papagi” – “shepherd’s papaq”) – was made of longhaired lamb fur and was in shape of cone. Motal papaq was generally worn by poor strata of the society.
Shish papaq (or “bey papagi” – “bey’s papaq”) – was cone shaped or sharp ended. According to the name of material, which it was sewed of, they had a general name – Bukhara papaq, a fur which was brought from Bukhara. It was worn only by representatives of beys’ estate and also prosperous people. Such kind of papaqs were typical for city aristocracy.
Dagga (tagga) papaq – was spread in Nukhinsky Uyezd. Its top was sewed of velvet.
Bashlyk – consisted of hood and long, round ends, wound round neck. In winter was worn a bashlyg made of cloth and wool. Bashlygs made of camel wool, the lining of which was sewed of colorful silk, because when bashlyk’s ears were thrown over shoulders the lining was visible, were especially valued in Shirvan. Generally bashlyk was accompanied by yapinji.
Arakhchin – was worn under other headdresses (papaq, chalma for women). It was a typical traditional headwear of Azerbaijanis and was widely spread even in the Middle Ages.
Emmame – (type of chalma) was existed among religious people (Mullahs, Sayyids, Sheikhs and others).
“Jorabs” – woolen socks were widely spread in Azerbaijan. City residents wore leather shoes with folded toes of slip-ons. Boots were spread among aristocrats. “Charigs” – everyday shoes made of leather or rawhide were worn by villagers.
National female costume of Azerbaijanis consists of outwear and underwear. It includes suck-formed shawl – “chadra” and a veil – “rubend”, which was worn by women while going outdoors. Outwear was sewed of bright and colorful textiles, the quality of which depended on income of the family. The clothing also included variety of different jewelries. Golden and silver beads, buttons, stylized as a big seeds of hordeum, coins, delicate pendants and necklaces. Unlike elders young women wore more bright clothes with bright flowers.
In the 19th century, Ivan Ivanovich Chopin described clothes of Azerbaijani women in Armenian Oblast (calling them “tatars”) is such way:
Dances of Tatar women are incomparably pleasant and their dresses promote originality of them: this clothing consists of a brocaded knitted jacket, which is fastened at the waist and a red silk chemise with large slit at the front, which is fastened at the neck, and reveals bronze colors in every motion which are tattooed in different ornaments; wide trousers substitute for a skirt and their width can argue with volume of a skirt which is the more stylish than the European purists. Tatar women wear decorated woolen socks with bright colors instead of stockings; thick black curly hair, thrown over the shoulders, completes the clothing and substitutes for any sort of more fanciful headdress.
Outwear consists of a shirt with wide sleeves and wide trousers to the ankle and bell-shaped shirts of the same length. Women also wore a knitted shirt with long sleeves (arkhalig, kuladja) tightly fitting across the back and chest, which had a wide slit at the front. At the waist it was tightly belted, but below it was parted by gatherings. A quilted sleeveless jacket was worn in cold weather. Outerwear could be a cloak that was longer than the shirt. Women’s shirts in Gazakh uyezd were long with slits on each side.
Women of Karabakh wore chepken (chafken) that was tight-fitting to the waist and with long hidden sleeves.
Wide skirts and also tight and wide pants existed. Short, to the knee, shirts were worn in Nakhchivan. In Shusha, Shamakhi and other districts shirts were longer.
Long kulajs were worn only by rich women in Nakhchivan and Ganja.
It consisted of leather in form of suck or caps of different forms. Over it were worn several headscarves. Women hid their hair into a special suck – chutga. Head was covered with a cylindrical pillbox cap. More often it was made of velvet. Over it was tied a chalma and several headscarves kalaghai.
On feet were worn socks – jorab. Shoes were slip-ons as for men.
The division of Azerbaijan national dresses by regions, similar and distinctive characteristics has been the result of the creation of different khanates throughout Azerbaijan in the eighteenth century. The Khanates were primarily located in different geographical areas, which would have directly reflected the shape, shape, and other characteristics of clothing.
Baku dresses are similar to Shaki and Shamakhi dresses. Although the purple and innate colors in the dresses, the white and dark blue colors dominated. No matter what color the dress was, blue and golden-yellow were used in outer ornaments and embroidery. Thus, people in Baku dresses preferred the colors of nature – white, blue, golden-yellow, and sand. Abundant use of shoestring in Baku clothes was due to the Absheron climate. The upper shoulder dress of the Baku women was not so different from that of the “sprouting” ordinary cloves. The main characteristic feature of Baku women’s arches was characterized by a sharp cut. The rectangular shape of the backbone is in rectangular form, and the edges of the backbone are slightly above the elbow, often in rectangular form. Baku archives were also chosen by simple form.
The women’s arches were completed with a sleeveless sneeze, starting from the elbow in a simple structure. Sometimes other materials were used in the construction of these slabs. Unlike other regions, women’s arches were called “don” in Absheron, and these frogs were decorated with all sutures. Anxious women would build golden-silver coin buttons on the back of the ark. Baku women also wore “lymphatic” as well as in other regions (Sheki, Shirvan, Ganjabasar, etc.). of the cover veilless was used in accordance with the rectangular section, which in turn would weaken the arxalıqlarının. All these dresses were sewn with handmade socks.
Ganja – Garabagh clothes – clothing sets of these regions do not differ much from each other. These cloth sets are an ensemble, as is the case in other regions. The tops and upper shoulder dresses were either in the same color or in similar colors, but the shirt was built in bright and bright colors. In the Garabagh region, there was a sackak variant of the hips with a top shoulder dress. In a fishing rod, the sleeves were built on the shoulder blades of the shoulder, with their gloves and thighs complete. As a rule, the dip was kept open from the arm to the elbow and from the wrist to the finger tips. This area was also used for scattering. The shape was sleeveless, although it was in the same shape as the hawthorn. Spring is the most commonly used topcoat used in this region. It is made of burgundy, purple velvet, its arms straight, and length to the elbow. In addition to the waistline, a slippery skirt was constructed and a trouser pocket was placed on each skirt. The goal was to decorate the mouth, the skirt and the pocket of the pocket. Kudry is a woman’s top dress. This garment was decorated with the most embossed, crocheted and tightly embroidered. Sometimes it was built in a glazed form. The Karabakh heroism was tied to the body and was sleeveless. No decorations except fur and bafta.
In Ganja, the arms and strangers did not have furs that could be made of leather. The breast collar, which had an arm up to the elbow, was scarlet under the ankle. The backbone of the shirt used in the Karabakh region is made by folding, so its shoulder is seamless. Small scales on their arms are mainly used for decoration. The shirts of the shirt are scarves called the “mesle” 8 cm high. Baffles are sewn along the mouth and neck of the arms. The main part of the national costumes was built from gas fumes, gaskets, and atlas. The length of the tube ranges from 86 to 102 cm. At the foot of the trench, the floor was rolled differently and the other layer was folded.
Yerevan clothes consist of shirts, drawers and longitudinals. The tent and archery are the same as in Nakhchivan and the shirt is different. The edges of the collar were sewn with a carved-shaped cut. The men’s ribs were slightly above the knee and the arm was sewn long, flat-haired. To keep going, the second layer on the bottom of the bottom of the shirt has become fashionable. Sometimes, as long as the breasts are long, the sculpture extends from the bottom to the bottom and extends the shirt body. The underwear of Irevan women often was made of white, sometimes with a rose fence or a canvas. The front side of the long slippers dressed in Yerevan was planted in three parts. The first part of the bottom part of the undergrowth was narrow, and the second and third parts were shattered by taking some genes from the previous one. The sewing slab, which combines the second and third parts of the shirt, was usually made of “skirts”. In the district of Iravan, the upper circle of rich women was long enough to the heel. These 3-4 wooden parts were sewn with two corrugated and sliced. Sitting on the back of the throne, the “belt” was laid. The belt was touched on a special embroidery machine. In Yerevan, the subtropics were also called “sweet”. However, the “sweet” dressed here would be much longer than in Nakhchivan. Here, as a rule, the dew is four inches high in the upper part. Rugged or oval shaped, open or square-colored archs are more widespread. It is noteworthy that the Iravan clothing set is exactly the same as that of the Nakhchivan cloth.
Lankaran dresses were mostly sewed very tactfully. It was mainly used with red, eggplant, light brown colors. The fog has been relatively short, largely long, but not as a casual one. The shirt was tucked with a button, and sometimes it was shorter than the waist. In the southern region, the shirt is also widespread. The shirt was relatively long and remained about four fingers above the knee. The collar or the back of the back was open. The latter was known in the Lankaran as “mint” from the word “gentleman”.
In the Lankaran-Astara region, the hawthorn was mostly long-haired. This type of garment, made of cotton or wool, was worn over the top of the shirt, under the cloth, the wind, and under the back. In the Lankaran region, the arcs are long-sleeved, shaped. Some arcs are decorated with dense sewing techniques and various embroidery techniques. In the area of the archeological basin, it was preferable to the red, dark red wine and eggplant colors. In the arcs belonging to the first group, the goal was flattened up to the elbow, and in some cases the goal was supplemented by the elbow. It was only a decoration.
The spring, which is mostly dressed in cool weather, sandy and lined shoulder clothing, is widespread in Lankaran. The spring of Lankaran women was reminiscent of the “don” of the women of Baku. So much to the body that was planted in the spring was usually added to the lower skirt with a slender, slender neckline. The spring’s arm was higher than the elbow and the collar was glued open.
Nakhchivan dresses consist of arch, wind, shirt, drawers, hawthorn and other elements. One of the main elements of women’s top dresses was the top shirt. In the mountainous part of Nakhchivan, a long skirt shirt is widespread. Notwithstanding the difference in style of the shirt, from knee to bottom to top, the length and length of the lens were increasingly different. The length of the shirt would be half a shekel (45 cm to 55 cm) in older women. The length of these t-shirts was considerably larger, making the side scarring larger. These shirts were called “carving” in Nakhchivan. Women in Nakhchivan also preferred the top dresses called cotton cloth.
The scarf was the upper lady’s garment, which was largely based on the structure of its arms. Longer and more swing arm types were observed. In the territory of Nakhchivan mainly used longitudinal flakes. The long sleeve’s arms were narrow up to the elbow and then expanded in the range of 20-30 cm in size. The other top wearer is rearranged, which is also used in other areas. It was mostly built of parts such as atlases, taffeta, velvet, and beads. These pieces are especially used in the dresses of wealthy women, and others are basically sewn from the cheapest parts (line, black, etc.). The “wind”, which is similar to the grass and the lenght of the skirts, is a wide-spread seasonal feature of the Nakhchivan region, with long slippers and lining from expensive parts (pulp, pulp, velvet, etc.). The arm’s arm was straight and slightly lower than the elbow, and the collar was squared openly. The sides were kept open and left underneath. There was a square-shaped crack under the handle. The tops of the flower are sometimes decorated with almond-shaped flowers, so it is often used as a blush.
The Nakhchivan region was characterized by wool-covered “Quilted Districts” characteristic of its linen and liner. They wore him over a short pillow called “Salt”. Nakhchivan clothes is considerably shorter accordingly set top skirt petticoat called a petticoat tikilirmis reaped relatively short. It was added “mianic” to the part of the nipples. Despite the fact that the area was shorter than the rest of the region, the skirt was decorated with special taste. Basically, the tambourine was used for silver and beads. The precious, green, and silver colors were preferred. Apparel embroidery technique was used on clothing, mainly floral ornaments. The Nakhchivan garments differed from the other parts of the back for the shape of the t-shirt and the town’s uniform and sewing technology. The shape of the Nakhchivan apparel was simple, but the archive differs from its form. If the arch is too long (which is called a wind) it is cut from the waist, and if it is short, all the incision will be added and the scar will be removed. The front of the long-haired arches was significantly different from each other, so that they were adorned with tricks and dances. In the cold weather, the arms of the back of the back door were worn over the wind. The arm of the Nakhichevan archives was basically flat, with a cutaway V shaped and like a jacket.
Shamakhi dresses – different colors were used, which was probably due to the nature of Shamakhi. Although these dresses were primarily of simplicity and elegance, the elegance of elegance was apparent in aristocratic dresses. Shamaxi dresses and decorative elements were rarely seen. Here, too, the backpack, the top shirt, the clover, the lbbade, and so on. were used. The upper shirt had triangular collar cuts and triangular shaped pieces were used to extend the waist to the sides of the trunk. In these attire, apparel elements were handled very well as handmade. In the Shamakhi lady’s wardrobe are often used to build a fence, with a triangular-shaped piece cut off to fit the side of the scar. She was dressed in a special “luxury shirt”.
Shaki ‘s – labbada, drawers, twist, chakhchur, covering, backrest and others. consists of. The tile was mainly built from a satin, and the floor was part of the floor, which was partly folded. Shaki women’s lower thigh looked like the upper thigh. Six “wooden” planted with fence. Despite the narrowness of the bales, the mussel was part of the district. This kind of type of dance was known in many regions of Azerbaijan as the “jalbalaq” district. Shaki women’s underwear is made of a bundle and reminiscent of Ganja shirt. Because it was made by coating, its shoulder was seamless and under the guinea pig was sewn. Shaki women were given the extra piece along the straight line until they reached the arm of the upper shirt and then along the crooked line. Thanks to this, his arm was partially expanded. This type of shirt was called a “lighthouse shirt”.
Labba – a velvet taffeta, a top bikini woman’s dress, lined. Another name is lava. It is made of two front, one rear part and two arms. Scales and sizes vary widely. A large crack is placed under the arm. Side sutures are scarred and clogged. These scar and protrusions are variable in size. Different baffles are constructed along the heel and the mouth of the skirt, while some are locked through the bushings made of the grooves attached to the collar. Sparkling is a top-of-the-top womens dress, built with horseshoes. The toe is glued to the elbow and to the mouth of his arm, around and around the collar cut, and the fence is rolled out. It’s not a button. The other name of the peoples was the “godlessness”. It was commonly called bele when the throat was half empty. Cachchur – upper waist dress, lined. Trapeze form taffeta reaped built.
In Shaki, the archery was basically a temple, and if the louboutin had been worn over the back of the back, it would be knocked off by the arch. Women in Sheki wore a “bare” archery, as in Baku. The arm of the archers belonging to this group was often flattened up to the elbow, starting with the elbow, adding to it a sneeze. The so-called sleigh did not have practical significance, and it was an ornament. As a rule, the saddle was added to the semi-arched back, called the “spring.” Shaki’s dress consisted primarily of the undergarments, the lower skirt, the upper shirt, the upper luggage, the trousers and the trousers, the socks and the slippers. The Shaki dresses were used in white, blue, blue, and sometimes in burgundy colors. The long pillow, the lilbada, the tall head decorations gave the set of clothes a pleasant lightness and simplicity.
Sheki to be the center of the silk produced here, given the unique Kalagayi of a set of clothes to wear special pleasure to use completing. At the same time, these lanterns attracted the attention of travelers traveling to Azerbaijan in the previous periods, with foreign tourists in their husbands. Colorful gulls are also produced in Shaki in modern times.
Azerbaijanis in the sixteenth century Gyzylbashs called because they are top of their heads, thin and tall red hat around him embraced it with dressing. In the 18th-19th centuries, women’s headscarves attracted attention with their varietal diversity as in the previous periods. Women’s headgear consisted essentially of two parts, with headgear and headdresses. Some of the head covers were a hygienic purpose, playing a role as a producer.
Women’s headgear was divided into two groups: dressing and covering. The first group chief garments təsək (cəpcik), cutqu, arakhchin, woman’s headdress in old times, the second group chief garments of different sizes and the petals, calmalar, shawls, scarves, orpəklər the niqab, veil, cutquqabagı, veil, headscarf, veil and p. it was. These include the scarf, shawl, covering gauze (cikila), headscarf, kerchief (carqat) were more in vogue.
The pillowcases were more characteristic of Shaki-Zagatala, Shirvan, Garabagh and Western regions of Azerbaijan at the beginning of the XIX-XX centuries. In the western region, there are three species (county, pearl, and cyprus) that differ in their shape, shape, style of dressing, and piece material. The lumber was made of white or colored cotton. The hawk consisting of two sides (headphones) and skulls turns on the opposite side and turns into sutures. They were wearing a rag, and he covered both the neck of the neck and the ears. At the top of the jaw, the right ear of the jaw was attached to the right ear, with a clamped rope attached to the left knob to the key attached to the button.
The most beautiful form of Saya was the pearl and the ghosts of the so-called Caesar. Pearl as a rule usually comes from a brighter piece of silk, which is surrounded by the “buta”, “sarma”, “gulp”, “ahraffi” and others. decorations were made. The pearl of genius was at the forefront of the so-called “cage”, covered with ornamental ornamental decoration. Caesarea was also decorated with various ornaments. As a rule, the red and green velvety whiskers were narrow and narrow. It was often possible to come to the garment of the young, especially the bride-taking girls, to Caesarea.
Dressing and dressing headgear includes pink, tassel, arachic, cones (strawberries), stolen, dinge, buttons and so on. included. The shirt (tulle), which has a wearing female headdress, is widespread in Sheki, Guba, Shamakhi and Baku. The trousers used to be a special hair bag that keeps the women’s hair tight. For this reason, its size was prepared so that everyone could reach their heads. The width of the roof made of rectangular shape was 20-30 cm and its length was 50-60 cm. In Shaki, both ends of the barbecue, known as “tulle”, reminded the open bag. Dark silk fabrics were also decorated on both ends of the slippers made of lining. Even though the edges of the flute were adorned, it was caught in front of it as “chutkiababagi” or “apple”. Despite the fact that Arax was an active carrier, he was decorated with a handful of ornaments of different colors or silk. The wagon was usually fastened through a “throat” or “chained” gold or silver hook. Then, with the ornamental head pins, a wick knit and a strap were made.
Another part of the wearing of women’s wearing headscarves was the complex “dinge” and “stolen”. In the Nakhchivan, Shirvan, and Western regions, the hinges included in the women’s clothing set up with a waistband or a shawl on a basket called the crane, made of gum rods. In order to stop at the beginning and stop the break, they usually make a golden hook on the rim and cling to the top. The jewelery on the hinges clearly reflected the owner’s finances. In the Shirvan region, the mountain was built not by the other regions, but by the molding of the head shawl in the form of a basket. The castle was regarded as a characteristic attire for the whole South Caucasus.
Coverage (covering), except for the headgear used freely, was often overlaid with the headgear. The headgear of this group was different in different regions of Azerbaijan. They were closing the play in different ways. Usually, the silk wrap is understood by trimming (trimber), and then his ears eject the right ear to the left shoulder, and his left ear to the right shoulder, crossing the neck and crossing the neck after rattling under the jaw. In another method of playback, when the edges of the wrapped leg were rolled beneath the throat, they released one end to the chest and the other end to the neck and tossed it back. Frequently, the free-kick played the role of life. As a rule, husbands flipped their hooks to ensure that the music was maintained and looked pretty. It was customary to tie small beech along the head of the main stem in order to keep the play in many regions of Azerbaijan (Garabagh, Lankaran-Astara, Guba-Khachmaz, Nakhchivan etc.).
Azerbaijani women off (coverage) and some head-dress silk kerchief was formed. Here, red, black, white, and oak, native, sailing paws are widespread, according to age and taste. Both locally produced Ganja, Shaki, Shamakhi and Basgal cellars are also used in the clothing sets of wealthy women (“neighbors”, “herats”, “fringed potatoes”, “bagdata”, ” while the poor were among the festive clothes. Usually, he wraps it around the diagonal to cover the top of the concealed cover, releasing one of its ends on his chest, and the other end was thrown over the free wing. In Karabakh, when the fistuler is covered with a thorax, the middle is facing the throat, both ends under the throat and the right end is pushed back from the left shoulder and the left end is folded back from the right shoulder.
The knitted fabric was especially popular in women’s headwear. In Shirvan, such chewing gum is known as “sailor”, “naznezi”, “balalay”, “sarali”, “alfa”, “beryan”, “lily”, “baklava”, “Yusuf-Zuleykha” “Zakiya”, “Zechariah” in Guba-Khachmaz, and “toxin”, “gourd duck”, “bashfulk”, “bagdata kalanga” in Nakhchivan. have been widely used. Another covering was made of shawl (shade) with a headgear, which was made in local quarries. Shede was used in the mountain villages of Lankaran. There were four pieces in the shade, which were made of different colors. For this purpose, the first smaller size was first used and handed over to the smaller size, and the second large-sized bowl was fastened to the top. Then, with a third armrest, reaching a part, it was tied between the nodes of the first row of the crosswalk. In contrast to this sophisticated technique, it has taken a two-year style of crochet among urban women.
In the nineteenth century, the tent also occupied an important place in women’s clothing sets. In the past, women, especially urban women, cluthed their heads off the top of their clothes when they went out into the street. She did not hide her head and face, but concealed all heroes and hid from her eyes. Muslim religious women, wherever they lived in the world, had to cover all their bodies, hands, facials and feet, as well as their bodies. According to Islamic teachings, women used to live alien, chadra, muhammad, niqab, etc. The chadra was usually sown in two forms, both semicircular and rectangular. The semi-circular-oval sheets, which are typical for Lankaran-Astara and Nakhchivan regions, were covered with rocks underneath the throat. Even in the Ordubad region, it was known as the “sculptor”. Rectangular sheets were preferred in Shaki-Zagatala, Absheron, Garabagh and Nakhchivan, especially in Ordubad ethnographic regions. It was possible to determine the age, socioeconomic status of its owner according to the color of the woman’s trousers. Thus, young women would use white (white), and elderly women would use dark colored sheets.
From the 1930s to the 1930s, rodents, nigga, narrow, tulle, etc. Like the facials, she was wearing a wardrobe and a trousers for women’s clothing sets. However, shepherds and curtains such as dresses and ceremonial dresses in some regions of Azerbaijan, especially in Absheron villages, have their own practical significance.
Azerbaijani women in the nineteenth and twentieth centuries, the traditional foot wear wool or silk socks, shoes, Badis, trick, slippers, Cust, heeled boots and shoes and boots. included. In the winter months, woolen socks were key to the footwear. Winter socks were sometimes touched until a knee, often in an inch below the knee. The patterns of these socks were often similar to carpets and embroidery patterns in each region.
The size of the stock was determined on everyone’s feet. Decorated socks with carpet ornaments were called “socks” in Karabakh and “shawl socks” in Astara. One of the traditional footwear was the backdrop. She touched the saddle, which was not a foot, and she was tied up with ankle up and down the knee. Basically, migration was widespread among the population involved in malnutrition. In the northern and northern provinces of Azerbaijan, especially in urban life, gutter boots, called “pheasant”, were used. The sole of wool was woven from the ropes, and the sole of the foot was covered with a cloth. The thin jawbone nipple was swollen and touched in a folded form.
In the 19th century, more characteristic female footwear was considered to be a slippery form. Women’s slippers with open, high-heeled, slippers were embodied in three sizes and were tastefully decorated with three “skulls”, “brainwashes” and “female headscarves”.
Since the twentieth century, due to the strengthening of economic and trade relations, the relative increase in the level of the material and cultural life of the population, underwent major changes in footwear, and after the disappearance of national women’s clothing, lost their importance in footwear and replaced with modern-day footwear.
Source from Wikipedia