Azerbaijani
Azerbaijani worry beads — whale bone, no. 61
whale bone
Azerbaijani worry beads — Soviet ebonite, no. 74
Soviet ebonite
Azerbaijani worry beads — Soviet ebonite, no. 131
Soviet ebonite
Azerbaijani worry beads — Soviet ebonite, no. 219
Soviet ebonite
Azerbaijani worry beads — German colored ebonite, no. 241
German colored ebonite
Azerbaijani worry beads — mammoth ivory, no. 304
mammoth ivory
Azerbaijani worry beads — mammoth ivory, no. 374
mammoth ivory
Azerbaijani worry beads — Soviet ebonite, no. 500
Soviet ebonite
Azerbaijani worry beads — Soviet ebonite, no. 575
Soviet ebonite
Azerbaijani worry beads — Aramith bowling ball, no. 576
Aramith bowling ball
Azerbaijani worry beads — Aramith bowling ball, no. 577
Aramith bowling ball
Azerbaijani worry beads — buffalo horn, no. 645
buffalo horn
Azerbaijani worry beads — Soviet ebonite, no. 646
Soviet ebonite
Azerbaijani worry beads — Aramith billiard ball, no. 670
Aramith billiard ball
Azerbaijani worry beads — Soviet ebonite, no. 749
Soviet ebonite
Azerbaijani worry beads — Aramith billiard ball, no. 754
Aramith billiard ball
Azerbaijani worry beads — Soviet ebonite, no. 757
Soviet ebonite
Azerbaijani beads are strings made in the recognisable Azerbaijani telling tradition: with a characteristic set, bead proportions and the overall school that took shape in the South Caucasus, where the culture of tasbih beads is especially developed. The name points to a regional style rather than a specific cut; behind it stands a particular way of rolling and stringing a strand, recognisable to connoisseurs. Such beads typically feature a well-judged balance of grains and a comfortable, fluid run tuned for active, frequent one-handed telling — the region's traditional manner. They are worked briskly and rhythmically, with practised, habitual motions; the strand answers the hand well and holds a set tempo. The sound is clean and rhythmic, with a recognisable dense tumble. The model's signature is not a single feature of form but a whole stylistic school: proportions, balance and character of run kept within the regional tradition. The style shows best on materials prized within that tradition — amber and its analogues, mammoth ivory, dense woods and horn — where warm material and a well-judged set give exactly that characteristic, lived-in run.