The armband, which occupies privileged place in Turkish folk culture, is also encountered in some gen-res in the field of folk literature with its protective and strength-giving properties, as well as being an ornament that is worn in the area between the elbow and the upper arm in the clothing culture and shows the status of the person. Used in various forms such as kös, belǝk kösö; küş, bilek küşi; güç, kubat; küç, quvvät; qurçaq uyını; güǝç, kuwwat and küc in the Turkic world, the armband has also taken its place in Anatolian dialects as pazvant/pazvent. The armband, which is one of the objects with a religious, magical, mythical and ritual background that is frequently encountered in folk narratives and serves the functions of protecting and blessing the person and giving strength, is worn on the arm. In addition, the presence of a prayer text inside it, which establishes an original bond with this entire background, reveals its important function. Pazubent, as an important motif, also made its way into the divan poetry. Evliya Çelebi described it as an ornament. Reasons for wearing armbands in oral culture include the following: people wear it to get rid of an illness; the sultan, prince or warrior wears it on his unborn child so that he can recognize him after many years; it is also supposed to add power to the biceps. Wrestlers in Anatolia wear armbands to give them strength and power. In Thompson's motif index, functions such as being invincible, protection against magic, getting rid of death, healing diseases, and recognizing one's identity are listed for the pazubent, or the amulet. According to Fodor's findings, this magical object, i.e. the armband, is worn on the arm, referring to the sacred especially regarding the protective and strengthening powers of Ali (Prophet Muhammad’s nephew and son-in-law), who is identified with power and gallantry. Ali took his place in Turkish-Islamic culture with his warrior characteristics. He comes to the rescue as a result of the prayers of the brave men in battles and epics. In this regard, warriors tie armbands on their arms, which contain the prayer that will act as a protective armor and give them strength. It is seen that this type of empowering and protective prayers are included in magazines containing professional treatises in Chagatai, especially within the framework of the futuwwatname (rules and regulations of Turkish-Islamic guilds) tradition. Fodor described the armbands he saw on the warriors in Iraq, and he pointed out the link provided by Ali with reference to the sword and lion figures he saw on the armbands in the transfer of pre-Islamic practices and beliefs to the post-Islamic period. In the present study, a text titled "Ed-du'ā-yı bāzūbend-i Hażret-i 'Alı̇̄ " (Ali’s Prayer for Armband) in Chagatai language obtained from Konya Koyunoğlu Museum and Library in Konya was examined in the aforementioned context. The text was included in a magazine which laid down the rules and regulations of Turkish-Islamic guilds and contained professional treatises and protective prayers. In addition, it was observed that there were armband prayers in other magazines containing professional treatises in Chagatai language and these were also cited in the study. Based on the Arabic prayer, further information about Ali and armband obtained from other sources was included. The Arabic prayer was translated into Turkish, and a study was presented within the framework of language-culture unity, both semantically/in terms of motif and as language material. In connection with the reflection of spirituality/divinity in the Islamic period, in the Seljuk State of Turkey, armband was used as an identity/imprint indicator for dynasty members and high-ranking officials, called tiraz.