On the systematic appropriation of Armenian cultural heritage by Azerbaijan

 

15.06.2025/Nid.oragir/editorial column

Over the past decades, Azerbaijan has been pursuing a clear and purposeful policy of reshaping its cultural identity, one of the key directions of which is the appropriation of the cultural heritage of neighboring peoples, especially the Armenian people. This process has taken various forms, from the attribution of culinary traditions and musical instruments to the policy of falsifying the origin of architectural monuments and even their destruction.

Culinary culture, as a sensitive element of the identity of peoples, has become the forefront of this appropriation. Armenian dolma, which was first mentioned in medieval historiography, is presented as an Azerbaijani dish, although according to dozens of academic sources it is one of the pillars of Armenian cuisine. The same applies to khash, the ritual nature and traditions of which are clearly associated with the Armenian people, having been mentioned as early as the 13th century by Stepanos Orbelian. In the case of lavash, the Azerbaijani claims not only are devoid of any historical basis, but also directly contradict the fact officially recorded by UNESCO in 2014, when lavash was recognized as an intangible cultural heritage of Armenia.

A similar trend has developed in the field of music. The duduk, a symbol of Armenian folk music, which has sounded in the Armenian highlands for thousands of years, has been included in the UNESCO World Heritage List as an exclusively Armenian musical instrument. However, Azerbaijani cultural policy periodically tries to present this instrument as part of the Caucasian or its own heritage, ignoring not only historical sources, but also documents from international institutions.

Cultural appropriation takes on a more harsh and dangerous expression in the case of architectural monuments. For centuries, Armenian monasteries, churches and khachkars have been an integral part of the civilization of the region. The destruction of hundreds of khachkars in Nakhichevan’s Julfa in 2005–2006, which date back to the 9th–15th centuries, was recorded in reports by both the academic community and international organizations, in particular ICOMOS and UNESCO. These khachkars were not preserved or re-instated, but simply erased from the country in an attempt to eliminate the trace of the Armenian presence. The Armenian churches in Artsakh, from Dadivank to Kanach Jam, are presented as an “Albanian heritage”, despite the existence of clear architectural and epigraphic inscriptions that prove their Armenian origin, also confirmed by numerous Western scholars, including Patrick Donabedian and Thomas de Waal.

In this context, it is also necessary to address the history of Azerbaijan as a state unit. Until 1918, when the Azerbaijan Democratic Republic was established, no state called “Azerbaijan” existed in the Caucasus. There were various khanates in that territory: Ganja, Baku, Karabakh, etc., which were under the influence of Persia and then the Russian Empire. In other words, the territories in which Armenia had been creating its culture for centuries were incorporated into the newly created state, with the already existing Armenian heritage.

The picture becomes more complete when we realize that Azerbaijani cultural policy is not limited to appropriation. It is also accompanied by targeted rewriting, attempts to introduce falsifications in the field of archeology and historiography, as well as propaganda on international platforms that contradicts all solid facts.

Armenian culture is a civilizational heritage passed down from the depths of centuries, proven by both written and material sources. The records of international organizations, authoritative academic research, and the exceptional continuity of Armenian culture leave no room for doubt, as a result of which Azerbaijan cannot really deny the nature of its policy of appropriation in a substantiated manner.

Therefore, these Azerbaijani actions should be qualified not only as an attempt of cultural falsification, but also as a systematic encroachment on cultural rights and heritage, which must be recorded and condemned at the international level.

This article will be sent in an official form to international organizations, in a concise style, neutral language, with factual references, and a clear message.
✅ To UNESCO,
✅ To ICOMOS,
✅ To the Council of Europe,
✅ To the UN Special Rapporteur on Cultural Rights,
✅ Or to other international cultural organizations.