دسته: Attractions

The Shahsavan are a nomadic pastoralist tribe located in northwest Iran. These Azeri-Turkish speaking pastoralists migrate between their winter quarters, qishlaq, in the Mughan steppe of Azerbaijan, and their summer quarters, yeylaq, around Mount Sabalan, approximately one hundred fifty miles to the south.


The Shahsavan, unlike many other nomadic tribes in Iran, do not have just one recognized chief (khan). Instead the influential chiefs (begs) of the five or six principal tribes act as intermediaries with outside authorities. The Shahsavan begin their migration southward to Mount Sabalan (15,816 ft.) approximately 45 days after the spring equinox. The weather determines the exact timing of departure. The nomads usually spend three to four weeks covering the 150 miles between the winter and summer quarters. For the migration, several camps form a caravan consisting of 30-60 tents. A recognized leader organizes the migration of different groups in accordance with the movement of other sections of the tribe. Daily migration starts soon after midnight and continues until midday, when sun and heat prevent further travel. The flocks begin to move several hours before the caravan of camels and other pack animals. Camels transport the women, children, lambs, chickens, the wooden frame of the tent, and the colorfully woven luggage containers. The men ride horses or walk. By late morning, the caravans catch up with the flocks. Several men ride ahead to locate appropriate pastures and a camping site where the tribe will settle for the night. A day’s travel covers between six and ten miles.


Pack animals are unloaded upon arrival. The diverse vegetation of the region has created suitable rangelands for livestock to graze. The dome-shaped tents take only 45 minutes to set up. A circular crown is held up by a man, while 24 to 32 bent wooden rods are inserted into it; the frame stands like a giant spider. To give the tent lateral strength, woolen bands are wrapped around the frame, and a large wooden peg is driven into the ground under the crown to tie the tent down. Once assembled, the frame is covered by several sheets of thick felt, ketcha, which are tied to the frame and the ground. A lighter tent is set up by shepherds or families who do not have a larger one. Everyone is involved in setting up camp. Afterward women fetch water, prepare food, and shortly after sunset everyone goes to sleep. The next day begins soon after midnight.


Shahsavan nomads traditionally raised flocks of sheep and goats, the former for milk and milk products, wool, and meat, the latter only in small numbers, mainly as flock leaders. They used camels, donkeys, and horses for transport. Most families raised chickens for eggs and meat, and a few kept cows. Every family had several fierce dogs, to guard the home and the animals against thieves and predators. Bread was their staple food. Some nomads had some settled relatives with whom they cooperated in a dual economy, sharing or exchanging pastoral for agricultural produce. Most, however, sold milk, wool and surplus animals to tradesmen in order to obtain wheat flour and other supplies. Some worked as hired shepherds, paid 5 percent of the animals they tended for every 6-month contract period. Others went to towns and villages seasonally for casual wage-labor. Itinerant peddlers visited most days, but householders went on shopping expeditions to town at least twice a year, e.g. during the migrations. Most purchases were made on credit, against next season’s pastoral produce. The wealthiest nomads raised flocks of sheep commercially, and owned shares in village lands as absentee landlords.


Women too had their elders (aq-birčak, “grey-hairs”), consulted privately by the male elders; among the women the female elders exercised influence in public, at feasts attended by guests from a wide range of communities. At feasts, men and women were segregated. While the men enjoyed music and other entertainment, in the women’s tent the elders discussed matters of importance to both men and women, such as marriage arrangements, disputes, and irregular behavior among community members or broader subjects bearing on economic and political affairs. They formed opinions and made decisions, which were then spread as the women returned home and told their menfolk and friends. This unusual information network among the women served a most important function for the society as a whole.


Shahsavan women produced a variety of colorful and intricate flat-woven rugs, storage bags and blankets, and some knotted pile carpets, but these were all for domestic use and figured prominently in girls’ trousseaux on marriage. In the 1970s, however, the international Oriental Carpet trade recognized that a whole category of what had previously been regarded as “Kurdish” or “Caucasian” tribal weavings were in fact made by Shahsavan nomads. Meanwhile, hard times and escalating prices forced many nomads to dispose of items never intended for sale. Since the Islamic Revolution, Shahsavan weavers have increasingly produced for the foreign market, adjusting their styles accordingly.


Rug weaving and reversible rug weaving

one of the traditional and beautiful handicrafts of Mughan county is called “rug weaving”. Rug Weaving is one of the traditional handmade of the state, which is very important due to the cheap price (compare to the carpet) and the beauty and simplicity of the motifs. The oldest sample is related to the Parthian period. The cords of cotton are from thrown cotton thread and its woof is made of wool and sometimes silk. The method of rug weaving is that in the first step, a scaffold is installed with cotton yarn and then they begin to weave.
Rug texture is prevalent in most parts of the state, and production place can be guessed by its design and coloring. A variety of beautiful, lively, and vibrant colors are used in the rug fabric, and colorful wools and sometimes silk in different thicknesses are used for rug texture. Sometimes silk is also used for knitting. Carpet designs are usually geometric, and in each city they make special designs in conventional designs. Rug weaving and it`s use are so engrafted with the lives of nomads that they are making other products such as sacks, saddle bag, wrapper for bed clothes, manta, and sometimes decoration of the tribe walls, equipment such as mat, MASNAD rug, fringe, plus, prostrate cloth, tablecloth, stool cloth, ground cloth, saddle bag, pouch, sack, salt shaker, saddle bag and both sides are useable.
Flat weave:
One of the traditional handicrafts of Mughan county is flat weave
. JAJIM is a woven handicraft that usually has stripes, diamond, and colorful designs, and people were putting it on the stool cloth in the old days. From long ago, it used to wrap the bed and therefor so-called “place”, so it was called “collect place”. Then after sometime, for ease of pronunciation, they called it JAJIM. The said JAIM warps are made of colorful wool with number 10 double MERINUS, and sometimes, of course, colorful silks are also used as warps. Because of the fact that woof can`t be seen, it is chosen from gray or black cotton yarn with number 20 into sextuple.
The method of doing is to open the bowstring in the open area (They stretch out the middle of bowstring and separate a number of warps, then they begin to weave. Usually they weave JAJIM by the length of 10 to 15 meters and width of 15 to 25 centimeters. After the end of the weaving, the pieces are sewn by cutting and keeping the pieces, next to each other to produce the desired dimensions. In most parts of the state, JAJIM’s texture is customary, with the difference that the color mixture, or the elegance of yarn and motifs are different in various parts of the state. Common designs are: apple flower, gypsum DIRNAKHI (goat`s nail), SIRGA (earring), spools, BALI BAGHALI, JULMA, almond, OZOK RING (jewel ring), HAMYAN and … However, it should be noted that the highest volume of production is related to the tribes of Ardebil, KHALKHAL, MESHKINSHAHR, PARSABAD MOGHAN, , NAMIN, KOSAR and BILESAVAR. Consumables such as ground cloth, prostrate cloth, mat, tablecloth, bedspreads, stool cloth and sofa cover are used in complementary work with leather.
Traditional weaving:
One of the handicrafts is the traditional weaving, which is mainly done by women. This art is made by knitting needle (two needles, five needles or hook) and products such as socks, neck shawl. Some of the traditional knitwear such as blouses and hats are decorative. This art is prevalent in most parts of the state, and women typically fill their leisure time with this art during the cold winter days.
Plus weaving:
In some rural areas of state, there is a textile, which is called as Paalaaz. Paalaaz looks like a coarse weave rug, and its texture is like rug. It has a dimension of about 250 * 350 centimeters. To produce it, they usually use number 2 cotton yarn for warp, and number 5 cotton yarn for woof in different colors. Sometimes, instead of a woof yarn, they use narrow strips of cloth cut from used clothes and use as low cost ground cloth. Sometimes they use wool for texture, which is waterproof of moist and is suitable for wetlands. Typically, weaving of plus, takes about two days. Consumption is included to ground cloth, bag, prostrate cloth, saddle bag, and so on.
Pouch weaving:
One of the traditional handicrafts of Mughan county is called pouch weaving. The pouch texture and type of its raw materials are quite like carpets and patent leather, and the only difference is its dimension and size. CHANTE is consisted of two pieces of rectangular woven carpets of approximately 40 * 30 cm in size, elegantly seamed from three sides (envelope type), and on the two sides of the bottom there are two painted tassels and in the upper part, there is a rod such as bag. CHANTE is a traditional bag that weaves in most villages and nomadic areas. In some villages, they also knit CHANTE by the method of rug or JAJIM weaving. (It should be noted that some people, weave CHANTE by mixture of some knits of carpet, rug and SOMALK).

One of the most beautiful handicrafts in the state is needle weaving. Many types of hook-woven products are said to be crocheted using natural fibers. Crochet has various techniques in texture and design. Many products such as clothes, hat, gloves, linen, many kinds of decorative tablecloths, bedspreads, knitted dolls and … They have a functional and decorative aspect. They are produced and woven in this way. Almost all parts of Mughan county are familiar with this art and this is a kind of entertainment for women and girls.

Horse manta:
One of the beautiful and nomadic handicrafts of the Mughan county is manta. Mantas are designed to decorate the horse and camel. Horse manta`s role is to keep the horse warm, and the it is decorative and ceremonial. But in aspect of the camel, it is decorative. The main body is a rectangle with two hinges are attached to it. These hinges are covering the horse’s back. The difference between the horse’s manta and manta of camel is that, manta of hose is larger than the camel’s manta and it is stitched together by two pieces of cloth, so that the hump, remains outside. Generally, in most parts of the state, manta of horse and camel are produced with various shapes and decorations, and are made in the form of rug, carpet, JAJIM and needle type. Tribes of Azerbaijan, DASHT MOGHAN, Kurds of KHORASAN, Turkmen, Fars, VARAMIN and IL AFSHAR, weave and decorate manta in their own style. For example, in Turkmen desert, manta is made of cloth, applique and cotton with fine needle work. In KERMAN state, they make manta as rug, needle designs, SHIRIKI PEACH design with warp and woof of wool, and among the tribes of Azerbaijan, the JAJIM texture technique is used to produce the manta. Horse manta is common in nomadic areas of Mughan county.

Carpet weaving:
One of Germi’s traditional handicrafts is called carpet weaving. Many people use the word of FARSH instead of GHALI word. Here is a brief explanation of the difference between these two words. GHALI is a texture which has woven on a scaffold (vertically or horizontally), short pieces of fibers are tied by a special technique around parallel warps to make woven fabrics with tufts (long peaches make the surface of the carpet soft and smooth). Its raw material for warp are: wool, fleece, or throw silk, and for the woof are: cotton yarn, wool or less twisted silk, and has a slippery, pink or geometric pattern.
The word FARSH is Arabic and its past participle is carpeted. The carpet in Arabic means the earth, and is the synonym of the word “throne”, that means the sky and can be applied to all kinds of ground cover, for example: paved, mosaic carpet, rug, mat and …..
Carpet designs are divided into 19 main groups, which include:
1. Map of monuments and historical buildings
2. Shah ABBASI map
3. Slim map
4. Spray map
5. Adaptation map
6. Mapping
7. The bush group
8. Tree Map
9. Turkmen map
10. Frame map
11. Frame map (another type)
12. Foreign flower map
13. Potted Map
14. Mixed fish map
15. MEHRABI Group
17. Geometric Map
19. Compilation map
But what is certain is that the number of primary and secondary motifs in Iran’s carpets are more than what we know.

One of the beautiful handicrafts of the state is called as MASNAD. The said rug with approximate dimensions of 110 * 170 cm and is woven like rug on scaffold. MASNAD designs are usually the altar and is used as prostrated cloth. Other types of MASNAD with various designs, at the top of the room, are special for guests, and the reason for naming it may be due to this work. The motifs are all geometric and do not have curved or revolving motifs. The texture of the vertical lines is staggered and symmetry is observed in the weaving. One of the characteristics of MASNAD is the hard contrast of colors between the background and the design.
Raw material of MASNAD, cotton yarn of 20.18 triplex for warp and colored wool yarn with number of 5.2, as woof. The MASNAD is also manufactured in dimensions of 70 * 90, 60 * 90 and 70 * 100-1 * 1.90 cm.
One of the beautiful crafts of Mughan county is FARMASH. The said one is a rectangular and has a door, box-shaped box, and used to transport quilts, mattresses or household appliances, during the transfer of Shahsavan tribes. This beautiful hand woven fabric is woven with weaving techniques of rug, VARNI and carpet. And its designs are sometimes prominent and complementary. FARMASH designs are appealing and cheerful, and its production is more common among the nomadic tribes of Shahsavan.
Salt cellar weaving:
One of Mughan county handicrafts is salt cellar weaving. The woolen salt is used by the tribes to store and transport large size salt or rubbed one. Salt cellars are mainly woven in tribes using a variety of techniques. The back of the salt cellar has a simple design of the rug weaving in different colors, and on the salt cellar, they are using techniques of VERNI weaving or carpet weaving. After finishing the texture, the fabric is considered as a lining inside the salt cellar so that the salt does not touch the wool. The general form of salt case is in the form of a bottle. The designs used are mind-boggling and made from surroundings of the weaver`s. Among them are animal pictures (deer, fox, sparrows, ducks and many more) and plant graphics (Cedar trees, Sycamore trees and others).
Local costumes:
One of the traditional and native industries of the state is the sewing of local clothing. Perhaps we can proudly say that no country has the same size as Iran in terms of the variety of designs and colors of local clothing, which is perhaps due to the ethnic diversity that we see in Iran. After centuries and with the advancement of machine industries, we still can see local clothes on the people of the village, especially the tribes, when we go to the villages.
Doll weaving:
One of the handicrafts of the state is doll knitting. Certainly, doll making has been a symbolic, ethnical, religious, and art man for thousands of years. And this way of thinking has spread thousands of years ago. In Ardabil state, according to the customs of the various regions of the province, puppets are produced in various ways with local clothing. “TAKAM” is considered to be one of the mythical dolls of the province, which circulates in the streets and neighborhoods of towns and villages in the days of NOWRUZ and announces the arrival of spring.

Traditional smithy:
One of the crafts in this state is smithy. In the old days, artists of this field in the cities and villages have been engaged in manufacturing products such as sickle, hammer, spike, horse harness, cow and many more. In contemporary time, as animal husbandry and agriculture became industrial or semi industrial, so these artists are making decorative applicable products like pot base, partition, window protector and so on. The basis of their work, like scrubbing and drying, is heating metals by Forge, blowing, hitting and stable connection, to get the final shape.

Cane weaving:
One of the traditional crafts of weaving called straw weaving and covers the tent wall and habitat of EL SEVAN tribe. Cane is beautiful and prevents the entry of heat, cold, wind and soil. This is because the canes are hollow and thus act as insulation. In case of rain or cold, humidity increases volume of cane and stick them together and prevents the entry of cold or rain.
In case of heat and dry weather, canes expand and closes the entrance of air. Because the tribes are nomadic and cane have always considered to be their tent`s wall, so we can be compare their history with their nomadic history.

After a long day of discovering, there’s nothing more comforting than a hot, homemade meal. Feed hungry adventurers with minimal fuss, with our hearty selection of pre-prepared dishes made by local suppliers from homegrown ingredients. They’re all ready to eat or can be easily heated up on the stove or fire pit so you can sit back and put your feet up. Local culinary history is inextricably linked to vegetation. Showoon Nomad Eco lodge is well known for providing native and local food with the use of local and mountain spices in the preparation of food. Several years of experience, and the recognition of the spirits of different nations and the tastes of domestic and foreign visitors, have made food tourism brands highlighted in this place. Horticultural, agricultural and livestock production has resulted in indigenous, local and historical food in Showoon Nomad Eco lodge. Most domestic and foreign guests are familiar with foods like Kata, Marji shorbasi, Koofta, Dolma, Abgoosht.

However Showoon Nomad Eco lodge is a good place to experience other native foods such as KHashil, Girma kabab, Doyma kabab,Arishta plo and Jouja plo along with a variety of salads and local desserts.
The use of mountain plants has given a special taste to nomadic food and made it delicious and memorable.

We source as much of our produce as possible from the local area and are currently working on new contracts that benefit local farmers and ensure a consistent supply of locally produced, pesticide-free products.

Organic supply chain

The purpose of the supply chain project is to establish and maintain mutually beneficial relationships with local farmers in the area around the lodge. Previously, produce used in the lodge restaurant was purchased at the market in Germi city. However, it was impossible for our staff to monitor the amount and type of fertilizer and pesticides used. By working with local farmers and produce suppliers, we can regulate fertilizer and pesticide use and move towards serving wholly organic produce.

Over time, we plan to expand the project and negotiate contracts with more local farmers.

The fruit farm

The fruit farm is also located in a village close to Showoon village. It belongs to a farmer and his family in a few hectares of land which growing plum, nectarine, cherry and apple. They now supply and deliver all our fruits and vegetables, which are grown pesticide free and using ecological fertilizer which the couple make themselves from grass and manure.


Azeri traditions and cultures


Shahsavan’s men’s clothing is similar to men’s in rural and urban areas although due to job requirements, lifestyle and habits and tastes, their clothing is not equal to urban men in terms of color and luster, but in summer or winter used clothing composition or a variety of hats and shoes are the same by slight small difference in the type of their material. Shahsavan men wear a jacket (Penjay or Setra) which is usual.

However, Shahsavan’s women somewhat have kept the traditional context of their clothes and even in some cases did not enter any new pattern or composition into their traditional dress. Shahsavan’s women’s clothing has 10 pieces including Tuman (several wide full-length underskirts gathered at waist), Koynak (a full length tunic), Kalayagi and Yaylig (two headscarves), Allynnig (a small Kalayagi worn as a headband to keep the headcarves tight), Araxchin (a small skullcap), Doshtig (a sleeveless jacket), Yal (women’s jacket), Socks, Bashmaq (shoes).


The bell-shape appearance of the women’s dress is achieved by wearing at least two or more full-length underskirts, while on special occasions up to five skirts may be worn. The waistcoats worn by younger girls tend to be made out of red material decorated with braids, buttons, and coins. The waistcoats of married women are normally more somber and are often made out of men’s suiting. The headdress is one of the most important elements of the dress worn by a married woman. Its shape, size, color, and complexity are used to denote wearer’s status. The basic headdress is created with two scarves, both of which are made of hand-printed silk. The large scarf (Yaylig) is about five feet square and decorated in a variety of colors. The most common combination for the (Yaylig) is white, yellow and oranges patterned with darker colors. The smaller scarf (Kalayagi) is smaller and is normally the darker of two. It is rolled diagonally and tied tightly around the large scarf and the skullcap in order to keep them in place. As a rule, Shahsavan women will partially veil their faces in the presence of unrelated men. This is done by bringing part of the Yaylig across the lower part of the face covering the nose, mouth, and chin.


Social organization:

Showoon women are respected in their community as being equal with showoon men. Husbands and wives are very affectionate and do many of their tasks together like going to the farm and barn, working on the field and visiting relatives. In this way, they help each other to develop a strong community life.

Nowruz ceremony

Azeri people start holiday 4 Wednesdays before 21st of March which is the symbol of winter’s end and the coming of the New year. They are called Water Wednesday, Fire Wednesday, Earth Wednesday, Wind or Last Wednesday. Nowruz holiday consists of ceremonies and traditions. People start to clean house, paint eggs, sprout up Sabza, make national pastries and a great variety of national cuisine. One of the main attributes of Nowruz is egg. Many nations considered that egg is symbol of life. Each egg color has its own meaning. Egg painted Red color – summer, Green Color – Spring, Yellow Color- autumn, Non-color egg means winter.

Bonfire on Nowruz Holiday

Symbolic characters of Nowruz are manifested by Kechel, Kosa and Bahar gizi (Spring girl). Their meanings are: The period prior to Nowruz is embodied by Kechel as well as to indicate the renewal of nature, the fertility symbol is Kosa, while landscaping of nature is represented by Bahar gizi.

At night, everyone should jump over bonfire for 7 times while telling special. After holiday people visit adults and elder people to congratulate their holiday and give some holiday gifts. And people who quarreled got reconciled on that day.

Hat throwing or Gurshaqatdi

Another tradition is “papagatdi or Gurshagatdi”. children knock on the neighbors’ or relatives’ doors and leave behind the door their hats, scarves or a little basket and they hide. And secretly wait for candies, pastry and nuts. People never give it back empty.


A Khoncha setting.

Khoncha is the traditional display of Nowruz. It consists of a big silver or copper tray, with a tray of green, sprouting wheat (samani or Sabza) in the middle. Sabza is one of symbols of Nowruz. It must be sprout up in every home on Nowruz. The first sneak of the spring shows a revival of nature. If it is going green, it means this year will be fertile and a dyed egg for each member of the family arranged around it.


Traditional Nowruz beliefs

There are several beliefs for young girls about telling fortune in Nowruz.


People overhear conversation behind the doors of their neighbors in the afternoon. Then girls try to tell stories about their fortune and make guesses based on the first heard word if their wishes come true. That is why everybody tries to speak pleasantly on that day. For example, if somebody says “turn on light”, it means everything will be good. On contrary, if expressions like “turn off”, “damn it” etc. are overheard it clues about negative consequences.

People eat smoky fish and rice on the last Wednesday of year for good luck in new year.

Visiting family and friends

During the Nowruz holidays, people are expected to make short visits to the homes of visit family, friends and neighbors. Typically, the young people will visit their elders first, and the elders return their visit later. Visitors are offered tea and pastries, cookies, fresh and dried fruits and mixed nuts or other snacks. Many Iranians throw large Nowruz parties in as a way of dealing with the long distances between groups of friends and family.

Sizdah bedar

In Iran, the Nowruz holidays last thirteen days. On the thirteenth day of the New Year which is known as Nature day, Iranians leave their houses to enjoy nature and picnic outdoors, as part of the Sizdah bedar ceremony. The Sabza grown for the Khoncha setting is thrown away, particularly into a running water such as stream or river. It is also customary for young single people, especially young girls, to tie the leaves of the Sabza before discarding it, expressing a wish to find a partner.



Wedding traditions

Girl liking or seeing

If boy and girl liked each other, first of all, they must ask the opinion of parents. According to traditions, the boy’s mother and one of the close relatives visit girl’s home to discuss with her parents the relationship between their children. Then fathers of both side meet. Usually, girl’s father doesn’t agree for the first time and says the following: “Qız qapısı, şah qapısı” (meaning is “Maiden’s door is the door of the king, that is why you must come several times for my agreement”) “I will say final decision after I discuss it with my daughter and wife’’. When father asks his daughter about this relationship, the daughter must keep silence. Silence means agreement. This is because the main decision belongs to adults and elders.


Boy’s Father invites close relatives such as uncles and aunts to the home. After consulting they decide to go to the girl’s home for match-making. Then, they tell girl’s mother that they plan to go to their house for match-making on a certain day. On that day, everyone has candy after the final agreement between two families.

Nişan (Engagement)

After agreement, Boy’s family brings engagement ring, one shawl and lots of candies to the girl. The close relative of boy fixes a ring on her finger and puts shawl in girl’s shoulder.

Holiday gift

Boy’s family must bring gifts in all holidays until the wedding ceremony, Nowruz Holiday gift is more interesting than the other ones. Holiday gift should be brought on last Tuesday of Nowruz. The red dress, or shawl, and jewelry, horned rams with henna and red band on head are brought for bride. They also bring a pie, , nuts – hazelnuts, date filled trays decorated with candles and Sabza.


Girl’s mother prepares dowry for her daughter for several years. Several days before wedding ceremony, they bring dowry of the bride to boy’s home. Dowry is consisting of at least bedroom furniture, home accessories and personal belongings of girl. Some of the relatives of girl comes to decorate girl’s room. Mother-in-law of girl gives the gift to her for decorating the room.

Kabin (Religious marriage registering)

Religious marriage registering takes place a few days before the wedding ceremony. One person as witness from both sides must present on this registering. Usually it is registered by Mullah. People were giving money and one sugar loaf which was 8 kg in weight.

Xinayaxdi (Xinna Night)

Girls gather in one of the rooms. One of bride relatives takes Xinna and starts dancing in the middle of the room. Then she brings a tray and an empty box and puts them in front of the one of groom relatives. This relative put money into the empty box and takes the Xinna. She comes to the bride with dancing then the bride’s fingers and feet are smeared in Xinna. Then Xinna is brought in front of everybody. Everybody smears Xinna and gives Anaam. Then the jewelry that the groom’s relatives brought was presented to everybody.

Meanwhile, a girl from bride side brings a “2 color” tea to the groom and his friends. They also drink tea and put a Anaam (according to Azeri traditions, Anaam is money or little gift which is collected in wedding, or engagement ceremony) on an empty tray. One of the girls brings the Xinna and the boys are sliding their little finger into the Xinna.

Groom’s bathtaking

This bath is a dream that many parents have for their sons. The host of this bath is the groom. He invites young family members of the bride and his family to the public bathroom in their city to take a bath together before the wedding. The clothes bundle that groom is supposed to wear in this bathroom are wrapped up by the bride’s family is given to groom. There is underwear, shirts, pants, socks, handkerchiefs and so on in this bundle with some sweets, fruits and cool juice, is taken to the bathroom so that the groom celebrates his last single bath with several friends. After the hand and foot are buried in Xina, the groom wears his groom’s clothes and goes to his father’s house with his friends who took him to the bathroom and takes a small ceremony there.


Wedding ceremony

The groom, his friends and relatives come to the bride’s house for carrying bride to wedding place, in a fancy and luxurious car decorated with bands and flowers. They carry a mirror and candles that are believed to represent happiness. Before Bride leaves the father’s house, red ribbon is closed to waist by the groom’s father or brother. Then bride goes around the Holy Quran and candle three times. Bride’s parents wish to couple all the best. At this moment a little boy of bride home runs and closes the door. It is said “Qapikastdi”. Groom gives him a Anaam and they open the door. Bride leave the house by music.

Beliefs after wedding

When the bride arrives at the groom’s house, Plate is put under her feet for breaking. This is a sign of becoming the housewife. Also the groom is supposed to gently throw tree apples toward the bride The rest begin to clap, this is actually a welcome to the bride. The groom throws three apples toward the bride of course, the groom must be careful that his marking is correct and does not hurt the bride. She sits on chair and a boy child is given to her arms so that she has a baby boy soon.

Qiz dalijad gedmak


Giving regards to Mother in law

 The groom goes to his wife’s house the next morning with a bouquet of flowers and gifts, and thanks his mother in law for the girl she gave birth to, and now she is his bride. Azeri people at this ceremony usually give a groom a small gift.

Ayagh Ashtdi

After the wedding, the bride and groom do not usually eat their own home for a few weeks because they are invited by their relatives. In this celeberation, called the Ayagh Ashtdi, the bride and groom go to each other’s relative’s house to get to know them more. At this ceremony, the host gives a gift to the bride to show that they will be so happy to see them again in their house. The Ayagh Ashtdi is usually done first by parents and then the family starts to invite and perform the celebration one after the other.



Funeral Ceremony

When a person dies, he is laid to the south toward Mecca(Qibla), his body is covered with black cloth which is the symbol of mourning. Of course, it is prayed a lot for the dead person. If the person could not be buried because of dying at the end of the day, the lamp is lit next to him. The relatives of the deceased (not only women) will be with him all night long.

Generally, once the person dies, everyone: relatives, friends, neighbors swarm to his home. The dead-body needs to be washed and if there is a mosque nearby, the dead-body is washed there. Washing exactly in mosque is not so important. Then the corpse is worn a white garment which is longer in case of women body. They wrap the lower part of the garment with white cloth and then they cover all of this with white shroud. Muslims do not use coffin. They carry the corpse in a stretcher or in an open box made of wood. Usually sons or brothers of the deceased carry him on their shoulders or other close relatives in case of absence of them. Women are never involved in the funerals. They can visit the grave only after burying. The Mullah reads prayers to God all the way to the cemetery and asks for the forgiveness of the deceased’s soul. If the age of deceased is less than six, prayer is not performed. It is believed that, child is innocent and his place is already Paradise, thus there is no reason to pray for salvation of the child’s soul. When the grave is being covered with soil, the deceased’s son or brother should stand in direction of grave so that the deceased is not feeling loneliness. Anyone who touches the corpse should be absolutely ablution after funerals. The music is turned off in cars, even in buses when they pass near the cemetery. Mourning continues after coming back from funerals. On the burial day only tea and Halvah are given to people. Halvah is made of flour, oil and sugar. Halvah can also be cooked for some holidays. Nobody is invited to funeral, they join themselves. Funeral is also hold on 3th and 7th day of deceased. Mullah take parts in all funerals and led to funeral prayers. Not only Halvah is given to people on funerals but also plo and meat dishes. On that day a special cleaning ritual is hold: blanket and mattress of deceased is cleaned. Everyone can go to home of deceased for condolences until 40th day on every Thursday or Friday and they can drink a cup of tea with halvah. Until 40th day relatives of deceased are considering mourning days. No one wears jewelry; however, they wear black dress. Men are not shaving. Relatives are not going to any festivals of parties during those 40 days. Neighbors also turn off the loud music. Even the corpse’s relative who are engaged must wait one year for their wedding.


Tea Culture

Serving tea to guests is one of the ancient traditions in Azeri culture. Azeri people usually prefer to dunk a piece of sugar into the tea, then bite a piece and sip their tea instead of adding sugar into it. Serving tea just before the main meal with raisin is considered to be a symbol of hospitality. They served hot tea in cups or Armudi Glass (pear-shaped glass). Armudi Glass is a symbol of tea ceremony. The main point in tea preparation process is water boiling technique. The smell and taste of fresh samovar tea (Samovar is a metal container for water boiling purpose) is unique and cannot be compared with other tea smells. An Azeri family of four members uses approximately 500gr of tea monthly and about 6-8kg yearly.

Tea is served in any ceremony in Azeri culture regardless whether it is funeral or wedding.