All of this shows that the difference in religion and nation did not constitute a barrier for the sharing of artistic values. Composer Bimen Shen fascinated the imams, those people who memorized the Qoran and darwishes with the devotional songs he sang at the church when he was only seven. The three marching songs composed by Bimen Shen, who came to Istanbul after being convinced by Hajj Arif Bey, about the Çanakkale victory and the First World War are an expression of his fondness of the Turkish country and culture. The fact that Aleksan Ağa, Kemanî Tatyos and his student Oud players Arşak Çömlekçiyan, Levon Hancıyan, Sarı Onnik, Artaki Candan and many other Armenian composers are still listened to by the Turks with sincerity and respect is a proof that they have been adopted as their own. On the other hand, the shows of Güllü Agop and Magakyan, Mınakyan, who were pioneers of the Ottoman theatre, which was one of the important breakthroughs of the Tanzimat era, and many others were watched with interest. Armenian theatre companies displayed Turkish shows in which Turkish and Armenian artists shared the roles. Bu nedenle Dizipal güncel linki hemen armenia her gün araştırılıyor.
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In addition to Mesihî of Diyarbakir, who lived in the 16th century and who was good at writing in talik style calligraphy; Mirzacan, who was a 19th century poet and who wrote praises of the Turks and tasawwuf, and Sarkis Zeki of Sungurlu, who studied at a madrasah and who was most probably a darwish of Bektashi-Hurufi order, one can also list many Armenian folk poets from among the saz poets of Istanbul such as Darwish Hampar, Meydanî, Lenkiya, Sabriya, Enverî, Ahterî, Resmî, Aşık Şirinî, Namiya and others. Armenian Aşuğ Emir, who died in 1892, is famous for his poems that talk about the brotherhood of the Turks and Armenians and that they would rise if they supported each other (Göyünç, 2005: 120-122). German Captain Moltke, who was in Turkey in 1830s, wrote that although the Greeks preserved their own characteristics more, the Armenians took more things from the customs and language of the Turks. He called the Armenians “Christian Turks” because of the similarities between the two communities. For example, the Armenian women were walking on the streets wearing covered clothing that armenia casino left only the top of their noses and eyes visible. The basis of the meals they cooked in the Turkish style was mutton and rice pilov, and one of two meals was always a dessert (Moltke, s. 35-40). It is possible to list some of the common themes between the folk cultures of the Turkish and Armenian cultures as follows: sticking stones on the graves of martyrs or exalted people, kissing the walls and thresholds of sacred places, tying fabrics as votive offerings, decorating sacrificial animals, designing of top windows in village hose architecture, using churns to extract fat from milk, using margin pictures in book decoration art, wearing blue beads against the evil eye, playing flokloric games around nawroz fires, making tandoori bread, customs and rituals such as the use of crochet needle, spindle, scissors, weaver’s shuttle and comb in carpet and kilim weaving, women covering their mouths with a veil and images such as wheel of fortune, tree of life, and battering ram (Kalafat, 2004: 77-79). Adana demirspor, kayserispor.
Nikoğos Ağa attended the Mawlawihanes (zawiyas of the Mawlawi order), called the adhan upon the request of the Sultan Abdulaziz, taught Turkish music to many people and his works were listened with appreciation by many Turks. All of this shows that the difference in religion and nation did not constitute a barrier for the sharing of artistic values. Composer Bimen Shen fascinated the imams, those people who memorized the Qoran and darwishes with the devotional songs he sang at the church when he was only seven. The three marching songs composed by Bimen Shen, who came to Istanbul after being convinced by Hajj Arif Bey, about the Çanakkale victory and the First World War are an expression of his fondness of the Turkish country and culture. The fact that Aleksan Ağa, Kemanî Tatyos and his student Oud players Arşak Çömlekçiyan, Levon Hancıyan, Sarı Onnik, Artaki Candan and many other Armenian composers are still listened to by the Turks with sincerity and respect is a proof that they have been adopted as their own. On the other hand, the shows of Güllü Agop and Magakyan, Mınakyan, who were pioneers of the Ottoman theatre, which was one of the important breakthroughs of the Tanzimat era, and many others were watched with interest. Armenian theatre companies displayed Turkish shows in which Turkish and Armenian artists shared the roles.
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