Famous Village Lahic



Lahic, located in the Ismailli Rayon of Azerbaijan, the road to Lahic is one of the most dangerous drives in the world. It follows a river with huge cliffs and some drops of 300m. Due to frequent earthquakes, it can be closed anytime. A 4 WD and an experienced driver are recommended. Avoid driving in this area if unpaved mountain roads aren’t your strong point.


Lahij (also known as Lagich, Lahich, and Lahic) is a small town buried deep on the southern slopes of Greater Caucasus, at an elevation of 1,375 m (4,514 ft) above the sea level. The village was isolated for centuries forcing them to develop their own language and skills. This medieval town with cobbled streets and squares is one of the most famous craft and trading centers in the Caucasus and beyond. You can spend a few interesting hours in Lahic. Walk along the cobblestone streets, visit the History Museum and the Mosque, browse the shops, have a look the the copper workshop or try to visit the carpets cooperative.


Older villagers speak a dialect that is nearer to Farsi than Azeri and claim that Lahic is named for the Persian-Caspian town of Lahijun from which their ancestors supposedly emigrated a millennium ago, bringing with them their famous coppersmithing skills. In its 19th-century heyday, Lahic boasted around 200 craftsmen, and Lahic carpets and metalwork fetched high prices in the bazaars of Baghdad. The population was around 15,000 until WWII, when the privations of war led many to starve or flee across the mountains: the road wasn’t built until the 1960s. During 2008-2009 the planned introduction of piped water in Lahic caused a great improvement in people’s lives. However, it means the end to the photogenic sight of women filling their guyum (traditional copper water vessels) at the village’s many springs.

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A historical-architectural landmark in its surroundings – village Lahic, built in the 5th century B.C. on the canyon of the river Girdimanchai (Upper Caucasus).




The village is small, but very picturesque. The territory is recognized as a cultural reserve and is considered a popular touristic destination of the Great Silk Road.



Lahic has preserved its trade and craft center up to now. You can meet there unique hand-made items from copper, adorned with carving in the form of oriental ornaments, knitted and weaved goods, wood and leather ware, souvenir knives and many other.



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History of the craft village



There is no exact data of the origin of the Lagich settlement and the chronicle of this place is based on the legend. According to one of them, Persian shah Kai Khosrow killed a respectable ruler of one of the cities in the struggle for power. It caused indignation of masses. In order to save own life, he fled the country. The shah found shelter in the mountains not far from current place of Lagich where he spent the rest of his life. The village was formed by his servants and their families from the tribe lagich, who settled near the shelter of their master. Gradually, the settlement expanded and turned into artisans’ center.



It was already then, hundred years ago, when copper became the main material of Lagich craftsmen. Local dwellers learned to melt it in their motherland, in Iran. In the new place, artisans developed their skills and established trade connections. Craftsmen workshops with melting stoves appeared on the territory of the village and the fame of beautiful and unique copper pieces spread around.

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Lahic map made by hand

Big caravans from Turkey, Georgia, Armenia, Persia, and Dagestan started to pass across Lagich. Merchants would deliver food, copper, fabric to the village and would take back cold steel, souvenirs and other copper household items with themselves.


The village developed and improved. Streets were slabbed, two and three storey houses were built. People learned to do sewerage and water-pipe channels.

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Lagich today


As soon as Lagich received the status of the cultural object, its population started to grow. Azerbaijani village did not lose its colorful historical look. Wandering streets, one might hear rumble of ancient workshops coming from somewhere.

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Copper, leather and carpet crafts are still flourishing, with only one difference that main merchants today are tourists. Moreover, local goods are supplied to many foreign shops too.

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The little town is decorated with paved squares, accurate houses, and hand-made crafts shops full of interesting pieces created by the Lagichians. People here are kind and friendly, and the air is literally filled with the atmosphere of calm, coziness and unlimited talent of the locals.




Bath Museum

There is a bath museum in Gaziantep  ( is a city in Southeastern Anatolia Region).










to be continued…


Turkish Bath Culture

The source : www.turkishculture.org


Jean-Jacques-François Le Barbier – “Bagno Turco”

The Turkish Bath House is a community bath, generally built as a part of a charitable foundation (vakif). They were built with emphasis on the interior rather than the exterior looks, with very few exceptions. Double Turkish baths had separate men/women sections whereas single baths would accommodate women on certain days and hours. In Istanbul, less than ten percent of the bath houses are operational today, with both operational and nonoperational ones in private ownership, in violation of their Vakif charter.


In their homeland in Central Asia, the Turks had steam baths which they called ‘manchu’. Bringing their Asian tradition with them, they merged it with the Roman bath culture they found in Anatolia, and a new synthesis was born, the ‘Turkish bath’. With their traditions, associated beliefs, and philosophy of life, baths became an institution, which spread all the way from Anatolia to Hungary in Europe.


Baths are communal, with men and women coming to bathe at separate times. Bathing was a form of social life, and women in particular celebrated certain important occasions at the bath, for example: the ‘bridal bath ceremony’, which was held one day before wedding festivities commenced; the ‘forty-day bath’, which marked the fortieth day following the birth of a child; the ‘tear-drying bath’, attended by all relatives and friends of the deceased twenty days after her death; the ‘votary bath’, held when a person’s wish was fulfilled; the ‘guest bath’, to which the hostess invited her friends and relatives to meet a special visitor; and the ‘holiday bath’ which was taken on the eve of religious holidays.

For women, baths were also beauty salons where facial, hair and body care was available all day long together with herbal treatment of certain conditions and therapy with various oils. A woman’s body was beautified and her soul restored at the bath. The perspiring body was rubbed with hand mitts (kese) made of silk or linen to cleanse off all the old skin, and lathered up numerous times to purify it of toxins. Afterwards, a woman felt literally purged of all her cares. Children accompanied their mothers to the bath, but as the boys got older, other women would remark, “dear boy, tell your mother to bring your father next time!”. Mothers chose brides for their sons at the baths. All the items used in the activities that went on in the bath were carefully prepared. Every woman had 13 or 14 different bathing accessories, examples of which are virtual works of art today, and an indication to us of how rich Turkish bath culture was. Let us look at some of the examples to hand in the light of this brief summary: Every family had a pair of ‘bath bowls’ in keeping with its taste and degree of wealth, the larger one for the men, the smaller for the women. Bath bowls came in several varieties: fat and round bowls of silver, bronze or copper, decorated with reliefs, inlays or fish. The soap dish was a lidded container with a handle on top, oval-shaped, with holes in the bottom like a sieve. Soap, combs, and rubbing and lathering mitts were placed inside it. There was also a metal container in the shape of a pumpkin for keeping jewelry after getting undressed in the bath. Bath mirrors meanwhile were oval or round with wooden or silver frames.

The bath clogs that were worn on the feet were carved out of wood in special shapes and decorated using various techniques. Being quite high off the floor, they ensured that the bather’s feet never came into contact with the soapy water. Bath clogs with silver bells accompanied the sashaying bodies of the young women with a pleasing tinkle. The most sought-after combs, whether coarse- or fine-toothed, were those made of ivory, which were plated with silver and gold. Thin bath towels (pestamal) were woven in plaid designs. After women had undressed in the bath, they covered their bodies below the breasts with these towels. Bath towels were adorned with various types of embroidery. After bathing, women wrapped themselves in these towels, the biggest one around the waist, the middle-size one around the shoulders and the smallest around the head. The highest-quality towels were woven in Bursa . After the hair was toweled dry and combed, a gauze-like white ‘tülbent’ was wound round the head to absorb any remaining moisture. When one went to the bath, a bath mat was spread on the floor. This was a towel-type textile, with a red square on a white field and red stripes around the edge. Bundles were placed on it, and the bather stood on it to get undressed and dressed.

Public baths, where such occasions were celebrated as a group, were located in the cities and towns and in some villages and were open to everyone. The imperial palaces and pavilions, Istanbul’s waterside residences, and the stately mansions in provincial cities and towns also had their own private baths, which were usually located at the end of a greenhouse-like passageway, filled with flowers, connecting the house and the garden. Bathers went to and from the bath through this flower-lined passage. It was traditional to consume fruit, lemonade and various fruit juices and sherbets in the bath.

Reference: Sabiha Tansug/Servet Dilber



Hürrem Sultan appeared in Topkapi Palace as a slave, but in a very short time she became one the most influential women of the Ottoman Empire. The name Hürrem was given her by the Sultan Suleiman I, and means “the cheerful one”- but in the eyes of many of her rivals she was the most dangerous weapon in Constantinople’s armory.

From 1520-1566, the Ottoman Empire was ruled by Suleiman I, who many claim was the greatest Sultan in history. He was also known as Suleiman the Magnificent or Kanuni – The Lawgiver. During his time in power, he made an impact on the history of many countries in Europe and the Middle East.

History has remembered her as Roxolena or Roksolana, Roxalene, Roxolane, and Rossa. However, the name she was called for most of her life is Hürrem. She received this name due to her cheerful personality.


Hürrem Sultan (Meryem Uzerli) in the television series, “The Magnificent Century”

As a Haseki (a title given to a royal wife, literally “belonging to the ruler”), Hürrem accumulated immense wealth, and used these funds to build and support architectural complexes in Istanbul and Jerusalem in addition to those in Ankara, Edirne and Mecca. In 1539, she commissioned the newly appointed royal architect Sinan to design and build a group of buildings that included a mosque, a medrese (university), and a school. The complex called the Haseki Külliyesiwas constructed in a district in Istanbul known as Avrat Pazarı, which came to be called Haseki, the name it bears today. In the early 1550s, a hospital for women and a soup kitchen were added to the complex; the mosque was enlarged in the early 17th century.

And one of them are Turkish baths,




This was used during in occupation days by France as a court, and then it was used a a carpet store and exhibition center.





to be continued



Japanese bookshop stocks only one book at a time


Owner of Morioka Shoten bookstore in Tokyo says the strategy adds up to a dedicated exhibition for each volume it sells,

“This bookstore that sells only one book could also be described as ‘a bookstore that organises an exhibition derived from a single book’. For instance, when selling a book on flowers, in the store could be exhibited a flower that actually appears in the book. Also, I ask the authors and editors to be at the bookstore for as much time as possible. This is an attempt to make the two-dimensional book into three-dimensional ambience and experience. I believe that the customers, or readers, should feel as though they are entering ‘inside a book’.”


Symphony 9, Beethoven


It was his dream all his life… Then one day, he captured the moments, that sparrows and music met in the nature… He recorded.

He is a retired academician. When he moved from İstanbul to his birthplace  in nature, a small town, he started to listen to the sparrows all nights long. And he built a small cabin for this listening… and one day, sparrow was singing and he opened his music player too, they were all in the same music, Beethoven’s  symphony 9 movement 2… He was the most happy man that he recorded, he is Orhan Bahri Ersoy – Haberin www.duzcedamla.com/



Jewelery Art, Inspired by Hittites




The Ninda collection is inspired by the Hittites, the Hatti people with 1000 deities, and their use of the triangle shape which symbolizes ‘goodness’ in their hieroglyphic writing.

The collection was named “Ninda”, since this word means “bread” in the Sumerian language, and was also the key word used to decipher the Hittite language. The first sentence which was translated read “Eat bread and drink water, too”.

Canan Alimdar is inspired for her work based the Hittite seals, figures, designs on tablets, clothing and hieroglyphic ideograms, rather than Hittite jewelry. The circular earrings which were often seen in the documents of the related era, along with bracelets and chains, are specially designed as jewelry items in her collection, and are very exquisite.

The triangle form, the other inspirational shape used by designer Canan Alimdar, symbolizes goodness, femininity, city and country in the hieroglyphic writing, according to its usage in this ancient lexicon. The use of the triangle throughout her collection, emphasizes “goodness through the hands of women to the world”, this also is the motto of the exhibition.

There will be seminars, speeches and workshops about the Hittites, under the umbrella of the Ninda collection’s exhibition which will run from February 9, 2017 thru March 13, 2017.