Mayis Ağabəyov

ВЦГАР АБДУЛЛАЙЕВ

РЯССАМ МАЙИС АЬАБЯЙОВ

ХЯЙАЛИ РЯНЭЛЯР ИШЫЬЫНДА

Бакы - 2011

Müəllif: Vüqar Abdullayev sənətşünaslıq üzrə fələsəfə doktoru

Redaktor: Gülnarə Zeynalova

Tərcümə edənlər: Məsməxanım Babayeva Səidə Əliyeva

ЮН СЮЗ

M yov dey nd ilk növb d Bilg hin qumlu sahill ri, min-bir r ng çalan X z r d oturub etüdl r ed n on üç eniyetm gözl rim önün g h rin bürküsünd Mayisl Bilg hin d niz sahilin g zm y ged rdik. (o h m d o d f Salam mü llim Mayisin akvarell diyi bir etüd nin r lir. S n

r evinin r d rn yin gedirdi. Mü llimi M sum R v si is onda h min ill rd Moskvada hsil alan yovun s rl Bu h r kt bini bitir nd ç kdiyi tablonu-diplom s n sonra Nazim heç k sin gözl m diyi halda Moskvada böyük bir müsabiq d n keç r d ns Nazim nizçi görm k ist ssam yox. H tta bu fikrini bir qrafik etüdünd d ks

Günl rin birind Moskvadan d tli bir x b r za n tic sind b d n Mayisin d ür yin kdi. Deyirl r zaman y di...

3 H yat is t yata keçirm k üçün lind n g l ni sirg mirdi. O kt bind oxudu, Moskvaya getdi, kinematoqrafiya institutuna daxil Az rbaycan r m kt f f tezlikl m v z olundu. May yov monumental, tarixi filml r tta heyk lt sind t qdir layiq s n t nümun l rdi s rgil ri t kc Az rbaycanda o k f xri ada layiq görüldü. Bu gün yov Türkiy d , Rusiyada, Almaniyada, Fransada, r d v l rd -tez f rdi s rgil ri s rl

1955-ci il . The first nature sketches.

yov h m d R mü llimidir, professorudur. O, iyirmi il nc r ss si sah sind s m r li f aliyy t göst göst m mü lliml r, h m d t l b l r üçün qiym tli d rs v saitl ridir. zirv sind dir. H l ir lid s n t zirv l n ti, n cibliyi, h n vv xsiyy ti il Mayis l ri d f th ed c kdir.

Aqşin Babayev Filologiya elmləri doktoru, professor

May yov öz h yat v bütünlükl Az rbaycan t sviri v kino s n tinin sl m ssam xsiyy tl rd n biridir. Onun istiqam td l g n öz s n tinin m s l l r, el b dii d bütün r t yetirmirdil yovu ilk növb d rql ndir n, onu sin sas c h t d el bundan ibar tdir. yov inc s n td t xs deyil. - t rbiy si g ngl rd görm y , ör bilm diyi r ngl ri görm y

ni seç yov n td Az rbaycan kino tarixind n, r n tind n km m k olmur. Az rbaycan t sviri s n t tarixin yovun s rl s ri il d m xsus r ng, kompozisiya h s rl rinin sas f rqli c h tl rind ndir. 1969-cu ild t sind t t n dön n r n z r l ri il son dövr l rini t hlil etdikd görürük ki, ill r ömürd n öts d , saç- ks d May yovun ür yinin h rar ti, linin m har sind s rl r ik muzey v z yin

v s. kimi filml rin

5 r yov olduqca ç tin s n kino r rd sanki, arxa plana ç kil n, p rd n r ssam d zgah r sind öz istedad v sar tl , öz ist rb st göst rm y , n ç tin b mm l h ll etm y nail olur. Bunlarla kifay tl nm y n r ssam h tta kiçik h cmli heyk lt sind d öz ist dikl rin likl bütün t f R r f sind Qalina d niyy zetind d rc etdirdiyi l qal sind yovun

ssam kimi May yov h ara cavab verm y ehtiyac hiss edir. Özünün ifad vasit l rind n r ngl rd n, tl rd n, çoxm ed r dir. yovun s rl rini seyr ed n diqq özünü d rk etm y , h yat f ls f sini mü yy n etm y bir sözl y v sl s n tl m kt nd si hesab edirl r. Çünki Az rbaycan inc s n tind özün m xsus yer tutan v öt n srin 70-ci ill rind s rb aliyy tin r ç rçiv l f t körp lliyinin t c s. yovun n çox müraci ri mahiyy ti il n v müxt lif formalarda, müxt lif kompozisiyalarda h llini

s. kimi s rl rind bu mövzular h r d f yeni tl ns d n ümumi c h tl r d d r ngl r al ngl rin el inc bir-birin mane olmur, ksin h Bu s rl rin h r birind özün c lb ed n n is gizli bir mü mma, mistik hval ruhiyy hiss olunur.

6 - d n inc x tl rl t zad t zamanda da diqq ti r sas m qs din yön ldir. seçilir. T svir müst visind n nir, n d lüzumsuz m saf n üç nöqt qurulan ks sol t r fl ri nisb t n iri fiqurlar ön planda tutur. M rk zi v nisb t n kiçik ölçülü, b z n d arxa planda veril n v s rin sas kompozisiya m rk zini t n fiqurlar is r t edir. M s l (1989) v s rl rind iki s rq var. Lakin h r iki s rd qeyd etdiyimiz kompozisiya pr

kt bind .

In the art school named Azim Azimzada.

yovun s rl rind m xsusi bir n qledici- lik var. Onun s rl rin rk diqq t c lb etdiyi istiqam td c r yan ed n hadis l ri oxuya bil r. Muzey M rk zind f rdi s rgisini t k M.A yovun Bu s rginin t istiqam tl rini göst rm y hesabat verm y siz ki, r ssam Az il , s rl ri il dey c kdir.

Ayt , s n

Z ngin daxili al m , yüks k intellekt , qeyri-adi bir qabiliyy t malik, zahir n çox sakit, t bi t n t y r fli, h m d r d r ç tin v m suliyy yov r l t l b lik ill rind rbaycanfilm b dii filml r

xsiyy tl r h rin b dii t ssam kimi öz d st x ttini göst yat bizi k ... ür fsan kimi

8 Az rbaycan filml ssam kimi rövn ql -cu ill rd yüks k r tl ndir n Mayis yov müxt lif ill rd mükafatlara layiq diyi filml 1997 Latviya prizi 1997 v rm k olar. gör 2003 d h rind müsabiq sind kc özünl apara bilm zs ild Kiyev h rind Kiyev Ümumittifaq G ncl bi t v mühafiz gör diplom v priz -ci ild is rbaycan g ncl r filml rini d lav etm k olar... 1990 xsi yarad m ssam bir çox dünya ölk l rinin r ed n göz l r sm s rl ri r plastik heyk ll s rl ri Almaniyada, Türkiy ondonda, Moskvada v dig r ölk v h rl rd s rgil , el h rd ki B dii Fondda, Az rbaycan muzeyl rind kimi ölk l rd xsi kolleksiyalarda sa yov kino bölm sinin r hb ridir. Az rbaycan yov 1990- m kdar r 2000-ci ild n Az Prezidentinin s r

sl n çox böyük bir n slin nümay nd yov titulu, möhürü, r smi s n di olan rütb sahibl rind n idi. Yoxsullara l göst r

xsiyy t d d -baba n n si olan pak genetik xüsusiyy tl r ndind çox böyük mal-dövl l nd s rtliyi il srin 30-cu ill rind v yov öz t mimiyy ti v y y

d b y, n n si M din . 1928-ci il.

Grandfather of Mayis Aghabayov Ahad bey, his grandmother Madina khanum with mother of Mayis and his father and his kinsfolk. 1928

Nazim, elder brother of Mayis

yov 1903-cü ild Salyan ndind Orta t hsilini bitirdikd hsilini davam

etdirm k üçün Peterburqa gönd t ali t mü h r t sinin yov h m f al

d b y, n n si ictimaiyy tçi, h m d görk t M din an, göz l pedaqoq kimi . 1928-ci il. böyük r yov 1929-cu ild Mün vv r ail h

yov v Mün vv Grandfather of Mayis Aghabayov Ahad bey, lib. his grandmother Madina khanum with mother of Mayis and his father and his kinsfolk. 1928 11

vv r xan S lyanda öz n cab -dövl tiyl m b r find y kimi q bul nurani, dindar, r hmdil, n l tutan, xeyriyy çilikl m

yovdur. O, 1941- dünyaya g lib, anadan r fin ail y böyük sevinc g tirs d , bu uzun sürm di. 1941-ci ild II Dünya Müharib llim kimi müharib y getm m k s lahiyy tin baxmayaraq, könüllü olaraq c bh y yovdan ktub el h min il Novorossoyskd n g ldi. O, solda Mayis). 1955-ci il.

vv r ana rin tinlikl qeyr til köm kçi oldu. H di, h m d oxudu. Ür yind ki The mother of Mayis with her children. arzusunu gizl d r köm kçi oldu. (Mayis in the left side from the top). 1955

d b y, n n si M din n qohumu il . 1928-ci il.

Grandfather of Mayis Aghabayov Ahad bey, his grandmother Madina khanum with mother of Mayis and his father and his kinsfolk. 1928

12 Lakin ana bunu görürdü, Nazim r Onun qeyri- r kt bin - ona d rs dey n mü lliml r d l b l ri d onun ç kdiyi r sml r adi na R tirdi. Moskva da onun yat yolu v s n ti vaxtil m tbuatda, radioda, ümumiyy tl kütl vi informasiya vasit l ril s n Baba l qal sind

rbaycan R s n t muzeyinin fonduna q yov s n t onun s rl rini sev -sev Lakin ... Onun faci li ölüm x b yi Q hr r kc ail si üçün yox, Az rbaycan r n ti üçün, m n dey rdim ki, böyük itki oldu. Lakin çox sevinir m ki, q dir bil n (Qobustan inc s n h. 27). El o vaxt heç k s bilm di ki, balaca Mais ür yind üzünü gör bilm y c dedi n d r ssam nin s n td n davam etdir c y r keçirdi ... Mais vv lc pionerl r evinin r sm d rn yin g ldi. Burada onu h bb ti il M sm n tinin sirl rini öyr tdi. O zaman Az l rin s yah t etm k d bd idi. Yayda pionerl r evind D rn srar ngiz göz llikl rini yaratmaqda M sm mü llim ona köm d ilk mü llimi M sm ilk s yah kt bin , görk mli r ssam V. S m V cih böyük ehtiramla yad ed n Mayis

ç 1953-ci il.

The portrait of childhood of Mayis worked by his elder brother Nazim. 1953.

14 - n sih tl rini h tta, Moskvada t l b lik ill rind d hiss m kt bind t skinlik vers d Moskva, z n bir t sadüf h r. Onun E.Rzaquliyevl r v v yov 1961-ci ild Moskva Kinematoqrafiya q bul olunur. E. Rzaquliyevl is yov bel ci ild R kt bin f l rgisind s rl rin ldi. Öyr ndim ki, Elb y Moskvada Ümumittifaq Kinomotoqrafiya sini bitirib. H min andan m n d T r rzind M. Boqdanovun kursunda Kino s n tinin inc likl rini öyr nir. Özünd n vv lki ill rd h c fzad nin kino sah sind v bir s n tkar kimi r k 1969-cu ild Az

V cih S m d hb

The studio, led by Vajiha Samadova ( Mayis in right side from below).

yov r kt binin t l b .

Mayis Aghabayov. With his school-mates from art school.

Moskvada t l b lik ill ri. 1965-ci il. . Student years in Moscow.

17 EMALATXANADA

- l rini dinl yir m. Sanki, m ni d o ill r hd d niz sahill rind , d niz lövh l rini ç kdiyind köm r söyl yir. yovu cih S m kt bind ona d rs dey n o görk xsiyy cih kursdan m n ixtisas f nini deyirdi. O, h linizd kirdik, o g lirdi, limizd kl 3- lav t z l nir, daha göz kt bini bitirib Moskvada Kinematoqrafiya institutunda ti m l d bu vaxt m r.

Tez g l, L tif mü lliml birg s ni gözl xatirini llimim, s n tin p r etdiyim, görk mli s n ssam V cih S m dova idi ... D getdim. Süfr , d rsl rin nec dey V cih r gedirs gedir m. V cih pill l rl qalxanda sol t r fd Françeski Qvardenin s rin bax, m n o s rd n b hr l m, çox göz l s n m n dediyi sözl r bu gün d sl nir: s nin s n n, oxu, gec ni gündüzün qat ki, bilik x zin ssüf ki, o h yatdan tez getdi... Ancaq m n h r d f ged nd mütl q Françeski Qvardenin mü s r m nim mü llimim o s rd n b hr l

18 n n vi sualla r h yata yenid n g zs ydiniz, yen d r n tini seç m nizçi olmaq ist Nazim d m ni d nizçi görm k ist yirdi... H tta m nim d nizçi geyimind klimi d ç ölümü y qin ki, m nim h kt bini bitirib, Moskvaya getm k fikrimi söyl y nd anam heç v chl

li-S ttar n li-S ttar minin xatir sini h hörm tl yad edir - Kinoya g mü llim, görk xsiyy tl rl ünsiyy td olmaq, 30 r r ssam kimi t rtibat verm k y qin ki, çox ç tindir: - B li, ç tin deyil des m, lb tt s hv ed r m, ç tin h m d çox ç tindir. Kinoda fa z, bel rk ed r. Kinoda m n h m d çox göz , H s n M mm dov, Rasim Balayev, H s n Seyidb maestro Niyazi il görk mli alim Ziya filminin ç - r ssam L tif K rimovla v dig r görk xsiyy tl rl ünsiyy td . Kino s n ti il l ri olan r ür yind r - -ci ild x tti il tin ged n r h rl rd h rind Prado muzeyind ispan r s rl rind n ibar t z ngin s rgi n tini çox sevdiyi ispan r f r q d portret s gör n r ssam, Madridd Prado muzeyind onun r ngl rin , s rl r onun rin iz qoydu.

yov geri v t n - 90x110 f rini t r nnüm ed n silsil s rl « ». / R f rind n g tirdiyi t ssüratlarla n t s rl rövn ql s rl s rl rin

Az rbaycan xal - rd Sovet hakimiyy tind t sadüf edir. H l 1989-cu ild timizd k sözl rd n birin r s r sm rgil n n s t r find ssam bu s ri satmaqdan imtina edir v s r v t n

20 R gec sind n sonra h r t r h ri g n v bu d ti seyr ed n r ssam, özünü gücsüz halda emalatxanaya yetirir v yegan ç k bil c yi r sm rind tt olur. Sonra bir neç qrafik r sm ç kir. Bir r smd göyd n yer en n bir gücü il küç l rin üstün yer üzü yin

vuran 20 yanvar xüsusil sir göst ssam q sd n insanlarda ruh ruhunu

öldürm k üçün tör dil n bu cinay t yind yeni yaranan mövzu - Ana v cavab verdi. Xalq var v onun tarixi v g l c s rl ri bu gün q d r davam edir. Bu « » . . s rl sm yin mümkünsüzlüyü v onun g l c m kd n x b r verir.

21 R s rl rd f ls fi m na onun ç kdiyi h r k k tan üz rin h yov m mövzulara müraci t etm ls fi m raq, öz üslubunda

s rin ls fi m na ver r k onu bu günümüzl s sl s onun bu s rind müharib , göz l üvv , var-dövl t göz llik, z rin

n s n

rind n birind yov

s n Novruz 1.40x1.75. 2007.

n onun h qiq t « » . . diapazonuna malik bir r

22 var idi: - r ssam ancaq bir sah d f aliyy t göst rm liydi. Y ni ya r ngkar v ya qrafik v s.

Abdullayev, y qin ki, c miyy td görk mli r ssam kimi ed r k, r sah l rind nada m n Mayis müqayis etm k ist yovun t hsili kino il laq m d r nz r ll ri d t q d r n r ss s rl rind müasirlik v avanqardizm kifay t q d r b zi r s rl rind is ks olunur. - rd kt bi f aliyy t göst rirdi, bu m kt bd s mimilik var idi. H r bir s n tin kökünd s yovun s rl rind milli kök n n l rind n b hr l nm k v hd yov dekorativlik v cind n keçirir, ona m ntiqi nöqteyi- n z rd f ls fi ümumil yovun s rl rini seyr ed b rab r, h m d n r M sviri s n hif Onun s rl rin r ng müxt lif növ deformasiyalar r yin edir. R diyi kimi h r bir s n tkar öz dövrü üçün aktual olur, onun dövrü keçib getdikd n sonra g l c k n q d n tkar odur ki, s n t yenilik g tir bilsin v özünd gördükl rin onun gözü il lqin etsin. O, m rbaycan r Az rbaycan r f olaraq kül yi k tana

23 köçürdüyünü söyl yir, Tahir Salahovun estakada üz rind kül y sin g l r k ir lil y n neftçil rin nec göz r Az rbaycan r rimanb t svirini ilk d f olaraq s n t g tirm sini v s rl rind tirir. Mayis yov r r zaman bel s rb

1962 ci ild rimanb s rinin nec böyük t nqidl hs edir. M çox s rt t nqidçil r v dig r s n s rini nec t nqid etm sind n v g nc, lakin o zaman üçün olaraq etm sind yova -ci ill rd n dövrd eyni s ri s rgil ndirm k ist y n r ssam s rt senzura il lc s k ist sonra is s ri ümumiyy tl qalereyada s rgil ndirm kd r. Lakin bel münasib yovda inqilabi ruhu söndürm m y yov t kc r h mçinin bütün s n tl rd d ilk sözü dem k f M h bb tind misal g tirir. Xarici r ssamlardan ingilis r Törnerin ilk d f 18 ci srin vv ll rind Londonda svir etm sini v r r ssamlar Londonu dumanla t svir etm y misal ç yovun da bir-birin ks qüvv l rin xeyir il rin, güc il z rifliyin, qara qüvv l r il l - hs ed n s rl ri, f ls fi m s rl rind ön plana g tirm si d el Az rbaycan r söyl y n r b r verir. R s rind q hd td gücün, qüvv ifliyin yov m nz r s rl ri nz r r S ttar B hlulzad n sonra h nz r ç km y

24 c sar t etmir, onun söyl diyin gör o, S ttardan sonra m nz r l ri onun gözü il görür v hd göst s rl rini l nem tl ri özl rind n göz l

ssam, yaln hiss etdiyi v yind n Tayland, Sinqapur s f rl rind n r sml r. tan üz rin h kk etdirdiyi s rl ri Küç d görün siz ki, r xarici s f rl ri, Tailand, Sinqapur, Malayziyadan . sml ri, eskizl ri onun s n tind iz The view on the street.

s ri bu s r h m r s ri kimi, h m d heyk s R diyi kimi o h avanqard r ssam ssam olmaq dem kdir. H r dövrün özünün avanqardizmi ssam t kc öz dövründ m li, h s sl m dövründ n d bir q d r g l c yi görm lidir. R ssam hal- s rl nm sini bir ç rçiv y ki, g r r ssam s n c yini vv lc d n fikirl onda bu s R ssam bu s rd qüvv il z rifliyin mübariz sini göst rm k ist rzind yaxalayaraq, onu tutan inc

Tayland, Sinqapur s f rl rind n r sml r. M b dd .

At the temple.

is inc lik, z riflik müc ss m sidir. R r s ri, s ri heyk H mçinin burada r diyi kimi, onun üçün

öküz ilk növb d güc, qüvv t c ssümüdür. Onun üstünd yl z iflik v z riflik lam tini s ri xtlik içind heç vaxt t hlük d n n h r an bu ail xtliyin q sd etm y s ri d bu q bild ndir. Ail , bir q d r k narda dayanan m l k. Ail dua edir. Ail xtliyin h r an t cavüz oluna bil c yind n, h y can hissini ür kd n g l n sakit dua il söndürm y s ri. Bu s rd r s ri yaradark qs di güdmür. Mayis yov sovet dön mind b zi az d niyy tind n, dilind n, dinind dig r - dilin , m d niyy tin can atma-

cd etm sind n v

s rind ks etdirir. d niyy t r nnüm edir. Y

yir v m ld n «Öküz». Bürünc. 25x28x8. 2000. hz

sirg mir.

Az rbaycan R

t hlil edir: srd naye s q ritml rinin t tl - m n vi d y rl rinin getdikc arxa plana ç kilm sind n v t dric tic d c miyy td cavüz hissl ri il v z

27 Bu s göz l s n tl srl r boyu göz l s n tl r al mind XX srd öz m n vi d y rl rini qoruya bilm m si s b bind n onun ruhi-m n vi al minin c miyy ti t rk etm sind n b hs edir.

R l hissl r üz rind

dim Yunan fsan l ri il t cavüz üz rind fsan l rini bir yer toplayaraq bu böyük qlobal süjetl ri kiçik bir tabloda müasir c miyy tin ziddiyy tl ri v hd tind ks etdirm y Yunan fsan -ruh) daima göz lliy can atan v insan ruhunun simvolu olan göz l d Psixeya o d r c d göz l t svir olunur ki, h tta m h bb t m l yi olan Amur bel bu insan ruhunu gördükd ona vurulur. Bütün

fsan boyu c r yan ed n süjet üzr Amur, uzun mac ralardan sonra öz m h bb ti Psixeya il birl s rind hadis l r müasir c miyy tl cavüz mühiti fonunda c r raitd inki göz lliy rast g l bilm yir, h tta heç k sin ona-göz lliy bu göz c miyy tini t rk etm k m cburiyy tind d rhal ona köm y g l t nb yind dayanan v g l c da mübariz aparan Pem v Romulu öz südü il böyüd n kild n görünür ki, canavar rkin miyy tind n kild h kk olunan r ng nz r sini

dd nz r ni

- qan l k si var. Bu l k su il kiçik s rh si il Antik dd dir. ver c Rubikonu keçm kl insan c miyy çevril bil r! Bu anda Amur lind z lampa il Baxmayaraq ki, t cavüz il dolu c miyy t t r find n v ziyy td dir, lakin bu M l miyy ti t rk etm m y , öz göz lbin rk edir ki, bu hadis

cavüz n tic sind özünü m hv prosesin q d m qoya bil r. Amur sanki deyir: - Psixeya t r ddüd v küskün v ziyy td y r k son a - rar verm k bar d fikr P.S. R ssam kild mesaj gönd rir: Ey insanlar ruhunuzu göz ll

29 s k tan üz rin h kk olunan bu s rin r ssam t r find H r üç variant özü-özlüyünd kild s r kimi çox qiym s ri r l r t etdiyimiz zaman o, 70 ci ill rd Novruz s s rinin vv lc s rgi salonunda senzura üzvl d k ist dil r. R s rgil ndirm k ist dikd bel yen d dey cava dig r b han l r taparaq s ri s rgil ndirm kd n vaz keçdil r. Amma, bel hadis l r r ksin onun ür yind inqilab ruhunu, h qiq ti söyl m k arzusunu daha da s ri olduqca s r hal- s rd r 90- rd n hadis l r yenid mizliy t r çimizdir n ana v üstünd n , t ffaf su v l f ... bütün bu atributlar h y vadar edir. n r s rinin bul edilm sini ist mir, t r k s rgi nd n sonra s yini davam etdirsin, bax budur r Bir d r ssam t mizliy yir. Bu bazar ks ri pul qazanmaq üçün daima mübariz - dövl rind hündür binalarda m nzil v sair , bütün bunlara nail olandan sonra h l bir az d l nl r r lir. Öz s rl ri il r bir neç d qiq zz tini

B yov n üçün r n heyk lt üçün kino r mçinin heyk lt öz qüvv d r n z r salsaq cavab tapmaq heç d ç tin olmaz. Az xalq r -

30 mçinin heyk lt r nin x l fi N c li bu maraq t sadüfi deyildir. R ssam yarat k ist yir, y ni onu lind tutmaq, onu görm k v bütün vücudu il hiss etm k ist s rl rin b zil ri h mçinin qalvanika v heyk ll r s ri h mçinin kiçik heyk r ssam t r find n n kild s güc, qüvv f l rl r ssam t r find n h m r m d heyk lt ab yov daim avanqard fikirl rl lliy , ali s n t v h özün R des ssam ki, ist diyi zirv y k onun s n ti orada da biti

rl rind ki f ls fi ümumil l r, k skin dinamika, iti rakurslar, t tan üz rind qiq t n çox d rin m na k sb edir. R ssam öz ist yin s rl rinin sehri r adic seyrl rk etdikd n sonra da min t ssam üçün m orijinal olan avanqard üslubunda ç s rl k, rl rd ki güclü x tl r, müxt lif süjetl r, monumentalizm simvoludur. B li, bu gün xalq r

rk edir m. Pedaqoji f aliyy tind r ssam h t l b l r lqin ed m sl h t görür. G r k mü llim t l b y özünün yolunu , özü kimi ikinci bir r ssam r k mü l b l b onun g l c -tez Moskvada mü muzeyin direktorunun d rsin h v sl g l n Mayis yov onun m d niyy tini, t l b l rl gün d t tbiq etm kd n yorulmur.

F rdi s 1988.

The opening of the personal exhibition.

ki simpoziumu.

The symposium in Shaki.

32 Ç 1984. . At the time of exhibition.

Qrozn h rind «Bab k» filminin bax ndan sonra. 1979.

city.

G ni çox sev n Mayis yov xüsus n tarixi s rl r daha çox üstünlük hr idi. H l r kt bind oxuyark n dramaturqun

Bab k pyesind ki q hr man Bab kin sur tini yaratmaq ist yirdi. Bu arzu Moskvada Kinematoqrafiya rk etmirdi. k mövzusuna h sr etm k ist diyini kurs r hb rin k sur tinin yovla - Kinemotoqrafiya institutunda sl h t görülm xtlikd n . 1961. rimanova h sr edildi. H min vaxt r -

yov o dövrü Cinema-operator ( in the right side Rasim n bel n mövzumu götürüb davam Esmayilov with Mayis Aghabayov- at the time el tdirdim, ür yimd lakin zaman when he studied at the Cinematography g ldi v n qism institute)

34 Moskvada Ümumittifaq Kinomotoqrafiya tl ed n yov el t l b ik n d m suliyy tini çox göz l d rk N l ri öyr nm k li Qafqaz v H rxanda muzeyl rd olur, tarixi s n dl laq dar çoxlu eskizl brik edir v onun diplom müdafi sind m mnuniyy tl liyik g nc r ssam el bu eskizl rl Az h s rgisind v 1972-ci ild Moskvada Ümumittifaq s rgisind müv ff qiyy tl suliyy t hissi g rk etmir. El r tarixi ist rs d müasir mövzuda ç kil n filml rd r ssam çox diqq tlidir. Özün l mövzuya xeyli eskizl r ç dikl rini l rin d f l rl yov hesab edir ki, kinoda r tindir. R n xeyli vv kino ç kil n meydançaya r ssa lm lidir. H m d xsusi m lidir, rib paradoksdur... R yov kinonun rs y g lm sind n q d r ziyy t ç kir, xüsus n tarixi filml rin ç ... hs ed rk güll r, müsahib l r, h bb ti v bütün bunlar çox b st kino s rinin rin müv ff qiyy ti v adam Ma yovun da ist yi budur. m el daxil olur ki, özünü o dövrd rtlik...h

Dem ci ild Moskva «Nizami» filmin eskiz. «M dr s »

yovun kinoda ... kinorejissor Eldar « ». Quliyevin ç kdiyi, Fikr The sketch fo dii filmind r ssam assistenti kimi ci ild r dii filmin geyim eskizl ri ç r , ssam N.Zeynalov v geyim üzr r ssam yov idi. Tarixi inqilabi mövzuda olan bu filmin geyim eskizl yov geyiml rin obrazlara, xarakterl r sas götürürdü, düzdür dövr d n z r ç tinlik bunda deyildi, çünki bu el d deyildi, q hr k sas m qs v geyim r nail oldu. Filmd bi slind sur nl rin xtiyar sur tinin geyim eskizl - rini müqayis etdikd h qiq t n f kild büruz r - mind l c rind xeyli köm k edir.

36 O, 1970-cu ild E. Rzaquliyevl ssam assistenti kimi d v v filmi d özün m xsusluqla seçilir. 1972-ci ild yovun ssam kimi d v t olunur. Mövzusu g ncl rimizin müasir h crüb b b olur. 1973-cü ild Az görk xsiyy ti sa ddin N siminin 600 illiyin h s n Seyidb yli Mayis yovu M. Hüseynovla birlikd ssam kimi d v t etdi. Tarixi s rl ri çox sev n Mayis yov bu t klifi sevincl q siminin v N iminin h nm k üçün neç -neç tarixi simi oturaq h yat keçirm buna gör d ç srin abu- d N siminin g nclik dövrl rind zlullah N iminin linc kild öldürülm si s hn si, onun ölümünd n sonra v siyy tnam sin sas n N siminin rk ed r k Anadoluda, daha sonra r b ölk l rind bu ölk l ri t svir ed n n q d r natura ç ri v bu ölk l ri simvoliz ed n minl rl eskizl rin kadr s hn l ri üçün ç kilm sini t l b edir. N simi filminin sonunda H l b h rind si s hn si çox t sirlidir. Filmin ç sas n tarixi yerl rd yerl orta srl rd hiss etm liydi. Teymurl t mt t svir edilm li, el naturadan seçilm sin. Teymurl ng, N simi v N imi ... v filmin dig , dövr onlara m qamlar v q hr har tl istifad yov h qiq t n d y rli bir nda özün m xsus d st-x tl

Xalq s rk rd si Bab kilm y yov bu film r ssam kimi d v t olunduqda, r

37 aid xeyli eskizl lbind h l r ssa kt bind oxuyark Bab k Xürr tarixd böyük bir q hr ss m mil r h r rk rd si olan Bab k onun dövrü, bu dövrün ziddiyy tl ri, mübariz l r v bu mübariz me sviri v s. bütün bunlar daha çox

m natura üçün yer seçirl yov Bab kin q srinin dim Az rbaycan «Bab k» filmin ç r. möht rb nd gedir, ç ri bu

yib.

dövrün n ssam vv lc eskizl r edir, sonra is mizan s hn si ç m d kino- r yov studiyadan çox, naturada t bi td bu mizan s hn buradaca qeyd etm yovun t sviri s n ti göz l bilm si t bi t t svirl rinin ruhunu tutmaqda ona h köm filml rind k mümkündür.

38 yov tarixi filml rd n söz açark n dövr , mühit böyük ön m verir. O, dövrd müvafiq ç kilm y n filml rl M d niyy t q zetinin 2010-cu il 12 may tarixli ran S r find n xalq r yovun fikri il r -qara filml rin r ngli leyhin dir. R , h r bir s n t s ri öz dövrünü t r qara ç kil n filml r r ng verm k o dövrün abu- r r ngli lentd ç k bil rdi. Amma o dövrü n z r alaraq -qara ç km y üstünlük verib. M nc , dünyadan köç n rejissorlar ist m zl ri r ngli

Tarixi filml r r n Mayis yov, dövrün nilm sin böyük ön m verir, bu mövzuda söz açark n xüsus n Bab k dövrünün öyr nilm sind görk xsiyy t Ziya

ç kil nd n t xmin yov dig r bir Nizami G nc vinin h hs ed n ssam kimi d v t olunur. Nizami G nc vinin x ms siyl h l orta m kt bd yat v hs ed n dövl q 2 km k, lb tt dövrü d qiq v h rt r fli

G nc d naturada tikilmi dekorasiya (Ortada memar mnquliyev).

The scenery in nature in Ganja (architect Emanguliyev in the middle).

bilm d n mümkün deyildi. Yenid n ax mütali l r, kitabxanalara v muzeyl r r v s yah tl nc h ri götürülm li idi. Lakin 1141- 1209-cu ill rd ki G nc il 1980-ci ill rin G nc si rqi n z r alsaq eskizl r, dekorasiyalar v natura üçün n böyük ç tinlikl yov Bertesin, Krimskinin v dig r t qal l rini oxuyur,

G nc y g lir. G nc d Nizaminin m qb r sini ziyar t edir. G nc lil r rinin xatir sini q lbl rind

r Bu «Nizami» filmin eskiz. .«Q sird » k rpicd n tikil n evd o dövrd G nc

hm bu gün d bu ev G nc d aliyy t göst rir v G nc l rind ndir.

xsiyy tl rdir. Mayis si olan bu tarixi filml r onu bütün kinosev rl r l c k filml rin sonra ciddi, h müasir filml rin ç ona inamla müraci t etdil r. fsan

xtlik

n ilin son gec h bb göz dii v s n dli filml r r n Mayis yov müasir filml rin d ç r tarixi filml rd zaman m lmirs v apararaq kan ld etm k ç tinliyind qalaraq v ziyy td r s rf etm li olursansa, müasir filml rd tinliyi il üzb r iki hal filmin y ti, o cüml d ssam üçün m lum ç tinlikl r - yovun nz k ... üz ç kir. Film r yovu d v t edir. n n çox E. Quliyevl birg diyini deyir. Bir yerd - birini çox göz rini söyl yir. Filmin ssenarisini oxuduqdan sonra h ki kimi eskizl r vi sonluqla bit c yini göst r n eskizl n s rin q hr hissl rinin kövr göst rm k üçün onun nc r sind n köhn m-qüss görüntül rinin nümun si bu S hn kana ssamdan böyük s bir v diqq t t l b edir.

fsan sind «Güm göl fsan si» filmin eskizl r. id rqli olaraq parlaq r ngl rd n istifad

operatoru R.Q mb yovun fikrinc , kinoda r ng, t tbiqi inc s n t s rinin m tb d çap ngl rin b nz dil bil r. Çünki burada r l tablosunun z nginliyind n istifad etm rin q hr S riyy nin dediyi kimi daxil ola bilmir, qorxur ki, S riyy kimi pak, t miz deyildir... Lakin sonda özün geriy sevgisin yov bu filmd d parlaq r ngl rd n deyil, real, h ngl rd n istifad ss m r ngd dir, s rin q hr müasir g ncl rdir, ri bir o q d r d müasirl rind n f rql nmir. fsan bütün hey hsuludur. Bu prosesin g l c k film ç nümun edir. Eskiz hadis l rin xarakterin rinliyini v hadis l rinin dinamik f aliyy t m yy nl

42 R ssam eskizd rejissor ssenarisinin t l bl ri

hadis l mahiyy tini, hval ruhiyy l rin, s hn t c ssümü vasit si il r ssam ssenarisini t klif etdiyi

l eskizl d

r ssam f aliyy tinin si kimi vacib m s l dir.

v 1990- tl

nümun sidir. Ssenari mü llifi Y.S m d «Q tl günü» filmin eskiz. dir. R M. yov v . .M mm dov t r find yov bir müsahib sind bel ola bilm rk ed c .

43 Odur ki, r ssam bu filmind d heç bir nöqsana yol verm d n, dövrü xarakteriz ed n r ngl rd n istifad rd d mü yy n ç tinlikl rl üzl h r d f d v ziyy td n

hn - kild h ll ngl laq ruhi gücsüzlüyünün x st t x Rejiss yovu mür kk b layih l r d v t ed rk n mindirl m suliyy k lm d c tini bildir c k, onun z ngin t crüb si kollektiv m yin s m r l rin h ri ç km k üçün rejissorlar r yovu d v r. t t r find n böyük r beyn lxalq yaradark dram üz rind y rk n rejissor Hüseyn Mehdiyev ssam kimi m yovu d v t yovla birg m kd söyl yir. V t np rv rlik ruhunda ç ngin ifad li vasit l rl , emosiyalarla z E. Quliyev yen t yov h an s n z n eyni s hn üçün bir neç eskiz edir. Onlar iç risind n n d y rlil rini seçir. kc apara bilm zs neç göz l t rtibat elementl rind n istifad r t yov müsahib l rind n birind s b sind E.Quliyevl birlikd h rd n k nar g Kruzo h yir. Kino r z n bel ç raitl rd d dekorasiyalar qu ç r üçün

44 mizan s hn l r ç km li olur. kc apara bilm zs ç d ç kirdik. Ç nlar var idi. Dekoru

niz qurduq. Ev tikib yel d smini

düz r. D tirdil r v d natura dekorunu qurduq. Güclü kül k s n kimi yel d k yer «Güm göl fsan si» filmin eskizl r. d sür tl

bilm dik, heç tapa da bilm müxt lif hadis l rl olunur. H min filmin

ç dey

Mosfilm pavilonunda «Nizami» filmin « ».

«N simi» filmin eskiz.

«H yat bizi eskizl r.

47 30- r n yov televiziya filml rin d t rtibat verm k üçün d v tl nin rejisso n ilin son gec ssam liyind y r. S n ki hadis l r sas n bir otaqda c r yov bu film üçün tdiyi eskizl rd h lastik t svirini göst rm y , interyerin t bii v qiq des k, onun eskizl ri filmin üslubunun t rkib hiss sin dekorativliyin forma v r ngl rini, r ngin v ah tl nm m yatda, konkret insan h

n r ssam crüb ni h r k sl k ist yir. Bu m qs dl o, 2008-ci ild r ssam m kdar inc s n kitaba ön ya s n layiqli töhf inki s n , ümumiyy tl bütün kinor h sind nc r ssamlara v t l b l r n böyük töhv dir. Kitab VII f sild n ibar tdir. Bütün f sill rd mü llif kino s n tinin v bu s n td r likl nadir hadis dir. B r tarixind sirl rini heç kim a bi tli s n dibl r, biz d öyr tm g nc r lind n tutaraq s n t g n tind t m u f sild yov kino s n tinin h qiq t n d qeyri-adi güc malik olan s n s hadis l ri h bul edir... Kino r m xsus f aliyy t dair sind n biri d filml rin real t bii yovun fikrinc bölm geyim üzr r ssam, dekorasiya üzr r ssam kimi köhn bölgül

48 H qiq t n d bel bölgül r qurul ssama köm k etmir, daha da ona mane olur, des k y qin ki, nnimizc kinonun bir r m hr ri, lb s l ri v dig görülm lidir. Ssenari oxuyan r ssam m mü yy n edir l kilm lidir. nib r aliyy f sild Rejissorun ssenarisi il ssam, d bi mü llifin s ri il rqli c h tl rini d rind n bilm li, kinemotoqrafik nöqteyi-n z rd özün m xsus t rzd m d yovun fikrinc , r ri, dekorasiya v natura ç ri

ssam ç özün m xsus fikirl ri v ri il g lm lidir. Düzdür, dramaturq v ssenarist t r find n mü yy n lav l r d edil bilin r, bel lav l r b z n ç fil fikir kimi d r, amma rind y rk ki, yov N. N rimanova h rind y rk rb nd v H rxanda - filmin v ri var idi. Bundan ötrü ay d deyir , r m qs di, rejissor ssenarisinin kompozisiya h llinin mümkün q d r d qiq, t ibar rin mü llif yüks k t sviri s n t m d niyy tin malik olan dünya kinosu korifeyl rind n Mikelanjelo Antonioni, Federiko Fellini, Pozolini v sovet kinosunun banil rind n biri söz Sergey

49 rab r, kino sah sind ssam kimi m qeyd edir v dahi s n n eskiz nümun l rin istinad n sas özün m r ssam t r find r f sild eyni zamanda dünya kino korifeyl ri il görk mli Az rbaycan kino r h miyy tli kinofilml rind n nümun l r g tirilir, - rs y g lm sind r ssam t x yyülünün böyük h miyy t k sb etdiyi q na tin g lir. Kinoda r rg r d qiqliyin fikrini r ssam Kamil N c fzad filmind bir daha t sdiql hz film ç özünü bu h r n r ssam, filmin psixoloji durumunu r ssam dili il , y ni r ngl rin b dii t svir gücü vasit sil gücl ndir b h mçinin K. N c fzad kinofilmin f sild mü llif h mçinin t ks olunacaq m s l l ri ideya m müxt lifliyind n d kino r haqda

rhi r tan üz rind n vv l kompozisiya üz rind ki müqayis edir, k tan üz rind ümumi ah rhl

r, t rh üçün bir keçid, körpü idi, t rh is bütün filmin bir növ bazisidir, film bu bazis üz rind yaranacaq üst qurumdur. Mü rind ssam kollektivi üçün çox vacibdir. Filmin bir çox m rhin s viyy r tl ri, b dii prinsipl ri rdiyi s yin n tic Növb adlanan V f sild eskizl rin söz açan

50 mü llif qeyd edir ki, g r keç n srin 30-40- rind daha çox pavilyon eskizl rind n istifad edilirdis , hal- n Az rbaycanda göz raitini n z r alaraq film ç naturada olan ç rd n daha çox istifad olunur. M r v v operatoru t rzind müxt lif yerl rd m kimi göst r n mü llif qeyd edir ki, natura v h min dövrd l tinlik tör dir. T n mü llif bu filmd geyim üzr olan

rs d , h r bir kino r ki, kino üzr geyim r d r d asan tta göz l iqlim malik v t nimizd d xüsus n tarixi filml rin natura ç tindir, bunu xüsus rinin ç r xsi müsahib sind v bu filml rin ç mir B d G nc h rind pavilyon ç hd tind n yaranan bir baxark n n görür, n d hiss edir. Dem

professional s viyy d r d niyy tin malik olan r ssam, eskiz üz rind rh l sind koloristik m s l l rin h llini diqq td n k g tir bilm - yov mü llifin fsan n r ngli natura eskizl ri nümun sild mü n r l b edir. Burada r hn nin ton v koloristik v ziyy tini mü yy nl lidir. Kinoda olan h hval-ruhiyy si, h r k daxili al mi, keçirdiyi hiss h y canlar... h ssam gözüyl r ngl lidir. Özü d bu r ngl r t krarolunmaz Mayis yovun

51 dedikl rimizin bariz nümun sidir. Bu f sild Mayis yov t ssüfl qeyd edir ki, b z n eskizl kollektiv t r find n müxt veri olduqda ç z rd heç vaxt yol verm kimi, bel ssenari üz rind y rk r x yyülüdür v p: - rejissor, ssenarist, dramaturq, operator mövcud s hn gözü il görm lidir, o zaman b diilik d pozulmaz. yy nl si b dii filminin ç mühüm h miyy t k sb edir v Mayis slini buna h r gör mü yy nl sin böyük h miyy t ver n mü llif bu f sild müsahib l rind n birind dediyi fikri t sdiq edir: Filmin r s h n vv l r lumdur ki, eskizl rl müqayis d m kana yerl k t l b olunur. Kitabda diqq ti c lb ed var, raitind ç l b olunan dekorasiya cizgil rinin layih kin q rvinin s. , r ssam ist nil n obyekt müv ff qiyy tli v Kitabda h mçinin kinofilm q hr eskizl rind n d b hs olunur. Kitab müxt lif dövrl rd görk mli r ssamlar t r find n kinofilml r ç eskizl rin fotosur tl ri il z korifey kino r dov, K.N c fzad , Mayis nc r h rr mov, R. lif filml r ç kdiyi eskiz nümun l yovun nnimizc , Az rbaycan kinosu sah sind -neç r püxt l sind , bu s n tin sirl rinin d rind n öyr nilm sind c kdir. Ümumiyy tl Az n yeni n sil kino r böyük bir m kt bdir.

52 Xalq r ciyy l ns ydi, o zaman y qin müsahib sind k tanda t svir edirs , dem k bu, ür kd n g r o zaman qüvv tlidir ki, r y ls fi y . Mayis yovun r özü d etiraf edir. Y qin ki, ana mövzusunda r sm s rl ri yaratmayan çox az r A yovda olan özün m xsusluq bu mövzuda da rir. Xalq r s rl rind ki Ana kövr k ür kli, li körp deyildiyi ki:

N q d r ki, m nim, S simd , n f simd nim!

M r n yim var onundu Bu q ml r, bu l ml r, bu misralar onundu, M n onun say sind boya- Anam m n al .

«Hamil d . 2004.

« ».

- n

- qey-

54 ri

dir.

« ». k.y.b. 1992.

« »

çox -1990-

üçün

1990-

bir sakitlik

56 2001- -

daimi

tell

B.Mirz zad .

. . at the studio of B. Mirzazada. -

- ci i

- -

2000-ci il

(Oktyabr). Bir il sonra 2001-

-a - -

Görk xsiyy tl rl s

r. 2005- With the prominent persons of our time Tokhay Mammadov and Okhtay Shkahliyev at the opening of the exhibition in 2011

S rgid . 2005.

At the discussion of the exhibition in 2005.

professorudur.

K h rind parkda. . . In the park in the city Kashan

ADRA-

During the view

H birg . 2011.

With his wife

Mayis with his brother and sisters

В СВЕТЕ ВОЛШЕБНЫХ КРАСОК

« »

969-

- - - - -19 -

- 2000-

- , ,

. 1939.

yovlar ail si.

65 -

66 ).

. .

Nazim, elder brother of Mayis

67 -

kdiyi portret.

77.

1965.

Kinemotoqrafiya institutunun t l b l ri

Among the students of Cinematography institute. (in the middle)

R ssam Qarif Basirov il h rd .

With the artist Qarif Bashirov in Old City.

il on canvas

- -

- Galerie de L`orencie», ,

. .

1988.

Zaqulbada ilk Beyn lxalq Simpozium . -

With the participants of the first International Symposium in Zagulba.

75 -

77 « ».

Küç sat

The sale on the street.

, 2002

- bürünc, 26x30x8

- bronze, 26x30x8

, 2003.

29x35.

Dekorun tikilm si.

85 -

Geyim eskizl ri.

86 -

«H yat bizi s nay r» filmin eskizl r.

87 - -

- --

89 -

90 -

Mayis with his friends in 2005

THE LIGHT OF IMAGINARY COLOURS

NATIONAL ARTIST

95 MAYIS AGHABAYOV

Mayis Agabekov possesses very wealthy inner life and extraordinary ability. Externally he is very calm and is a modest person by nature. To write about him is very honorable and at the same time very hard and responsible. Mayis Agabekov, having broad creative work diapason, began his career as an artist from his student years, and then he put his signature to more than 30 feature and historical films in -artist. He showed himself as a talented artist in the figurative films were devoted to historical persons. He made the films producer-artist. Mayis Agabayov, brought fame to his high artistic potential as a cinema artist in 1969s, was awarded prizes in different years. He worked as a producer-artist in the - - - prize-1997. He participated in IV National Cinema creating competition and

-Union Cinema festival in Kiev in 1980 and was awarded the prize and

time to be engaged in his personal activity at the studio from 1990, and created so beautiful art works- graphics, paintings and plastic statues, which amazed the spectators of the world galleries. His works were exhibited in the different countries and cities such as Germany, Turkey, France, Spain, Vienna, London, and Moscow and so on. These works are kept in East Nation Museum in Moscow, Pictorial Fond in this city, Azerbaijan museums, also in the personal collections in Spain, Japan, France, Germany, Russia, and Turkey. Mayis

Union. He is a member of Azerbaijan Cinematography Union. Mayis Agabekov was awarded the name Honoured

2000 by the decree of the president of Azerbaijan Republic.

96 HIS LIFE

Although Mayis Agabekov was born in Baku, by origin he is a representative of a great generation. His grandfather Agashirin Agabekov had a rank with title, with stamp, with official document. Mr. Agashirin was very honorable person at his time and helped to the poor, took care of them, kept the fast, and performed the ritual prays of Islam. Without doubt this perfect person had pure genetic features, belonging to his family. He was very wealthy person in Qaraqashli village in Salyan, everytime distinguished for his gentleness, solicitousness. If it was needed he was very strict person. He died in the 30s years of XX century.

The parents of Mayis in 1928.

Mayisin valideynl ri. 1928-ci il.

. 1928 .

Mayis Agabekov looks like to his grandfather with The sister of Mayis his modesty, frankness and carefulness. His father Mr.Alishir Rafiga with her parents in 1930. was the eldest son of Mr. Agashirin. Alishir Agabekov was born in 1903 in Kur R fiq valideynl ri il . Qaraqashli village, in Salyan. After secondary education he . came to Baku, studied at the present Oil Academy. For continuing his education, he was sent to Petersburg, after returning to Baku he had worked as a teacher at the institute of higher education for a while, and then he was the head of the city education department. Alishir Agabayov was famous as an active public man and a prominent intellectual man. He won sympathy as a careful man, and a brilliant pedagogue. Mr. Alishir Agabekov got married to Mrs. Munavvar - mother of Mayis Agabekov. Mrs. Munavvar mother of Mayis was a daughter of Ahad Aliyev. Ahad Aliyev was known as a bey (title), even though he was not bey, and he was very famous for his nobility, his name, his wealth. He was also very noble- looking, devout, merciful and fine person. Mr. Ahad was reputed as a person who helped to the poor, was engaged in charity, too.

98 Alishir Agabekov and Mrs. Munavvar had got five children. Mayis Agabekov is the youngest child in the family. He was born on the 1st of May in 1941 because of this he was named Mayis. Although, his birth gave great happiness to the family, but it did not last long. The last letter from Alishir Agabekov came in 1941 from Novorossiysk. Alishir Agabekov went to the battle-field voluntarily in 1941, after beginning World War II, although he had privilege not going to the army. He had disappeared. Mrs. Munavvar took responsibility for family and at that time she was 26 years old. Nazim, the eldest son of the family, helped his mother. He both studied and worked. He helped to his brothers and sisters and every time he used to hide his wish. But the mother used to see it. Nazim must be an artist. He had unusual talent. When he entered to the Art School named Azim Azimzada, everybody- his teachers, other students looked at his paintings with great amazement. Unusual talent made Nazim Agabekov come to Art Academy named Surikhov, in Moscow. Moscow was also amazed of his talent. His life and profession were lightened at press, radio, generally, at mass information means. We read at the article

of Nazim was that his degree work was accepted to the fond

19 years old Nazim entered to the great world of art and his art works were accepted with great pleasure.

The mother of Mayis Munavvar khanum, his father Alishir bey, and his grandmother.

vv b y v n n si.

USSR National Artist, Hero of Social Labor painter Tahir family but also for the entire Azeri nation. But I am very

page 27) That time nobody knew what Mayis said to his brother whom he would went to the artistic circle of pioneer house. Here Masmakhanum Agayeva met him as a mother. She taught him secrets of art. At that time traveling to the different places of Azerbaijan was very popular. In the summer he went to Shusha from pioneer house. Mrs. Masma helped him and his schoolmates for creating fascinating beauties of Shusha. They remembers his teacher Mrs. Masma and his first tour to Shusha. He entered the Art school named after Azim Azimzadeh, took the course of prominent artist V. Samadova in 1956. Mayis Agabekov remembers Mrs. Vajiha with great respect, says that he felt her maternity care, her reprimands even in his college days in Moscow. Although, studying at the art school named after A. Azimzadeh calmed him, he never forgets the academy named after Surikov, in Moskow.

His acquaintance with E. Rzaguliyev created interest to cinema and even though there was a great competition, he entered Moscow Cinematography Institute in 1961. Mayis Agabekov remembers acquaintanceship with

had graduated from Moscow All-Union Cinematography Institute, the faculty of painting. From that moment I had

During his student years he had been learning details of cinema at the course of M. Bogdanov. He acquainted with achievements of E.Rzaguliyev, F. Bagirov, N.Zeynalov, and K. Najafzadeh in the field of cinema (these persons graduated from this university) and as a real specialist he came back to Baku in 1969.

100 AT THE STUDIO

I am sitting vis-à-vis with him. I am listening his childhood memories and now he is seventy years old. As if he conducts me to those years. He is speaking about walking on the hot sand on the Bilgah beach, about his drawing the sea. He remembers people who helped him in his career and is speaking endearing words about them. He thinks of his brother- Nazim Agabayov, passed away in his early youth. If

teaching him at the Art School named after Azim

speciality from the second course. She used to say:

In front of the museum in 1980 an art work, she used to come, then supplement some - additions by taking palette, the work used to get renewed, it

101 named Azim Azimzadaeh and was studyingat at the Cinematography institute in Moscow. I can never forget. I had returned to the hostel after another class and I was very tired. I was called to

Come soo

said that I went to the Tretyakov gallery and Pushkin museum, look at the work of Frencheshky Gvarden on the left side, I have derived benefit from it, it is very beautiful knowledge which you get at the university, will elucidate your art way during your life. Try to learn, to read very hardly, because light of your knowledge treasury will be wealthier by everytime when I go to Moscow, Pushkin museum I absolutely look at the art work of Frencheshky Gvarden, my At the sketch in summer experiment.

I separated him from his memories with the Yay t crüb sind etyudda. traditional question

102 would like to be a seaman from childhood. My brother he had drawn my portrait in unexpected death probably changed my life. I remember very well, my mother did not agree with me when I said to her that I wanted to go to Moscow after graduating from art school. But a respected person of our family uncle Ali- Sattar could convince my mother. I recall memory of uncle Ali- - Your coming to the cinema was very interesting, Mr. Mayis, may be, it was very hard to communicate with prominent persons, decorate more then 30 films as an artist: - Yes, if I say that it is not hard, of course, I would lie; it is hard, very hard. At the film there must not be false, if it happens, spectators will leave the hall. As well I acquainted with very brilliant persons. I communicated with Hamlet Khanizadeh, Hasan Mammadov, Rasim Balayev, Hasan Sayidbayli, with maestro Nizami, during

and other prominent persons. The wish engaging in painting always was at the heart of the artist who has a lot of reminiscence about cinematography. The artist went to Spain in 1985 via the USSR Cinema Union and was in Madrid, Seville, Andalusia, looked at the exhibition halls consisting of art works of Spanish artists in Prado museum in Madrid. He was amazed of the colours, passionate pigments of Spanish painter Goyya in the Prado museum in Madrid. But till that he could see only a little art work of him at the Pushkin museum in Moscow. Those art works influenced his career very deeply. After returning to his country Mayis Agabekov created a range of art works about the visit to Spain. These art works developed his career. He not accidental. Creation of them coincides with government. In 1989, refugee was very active word in our language. At that time the arti This art work was exhibited at the art

103 spectators bought it. But Mais Agabekov refused to sell it and returned it to homeland. As the artist said, after that terrible 20th January night everywhere was covered with blood. When the artist saw this terror, he came to the studio very weakly and he could draw only a red line on the paper. Then he drew some graphic picture. At this picture, a hand, coming down from sky to earth, compressed a pomegranate to the streets and the earth covered with blood. Doubtless, 20th January night influenced all of us, especially creative persons. The artist responded to this

There is the nation and its history and future. The Range root and prevent its future. The artist seeks philosophical meaning in all of his works and all of the elements, creating by him, are engraved on the canvas attentively. Mayis Agabekov prefers to apply to popular subjects, to create philosophical meaning of mythology by making them h the harmony of our time by giving philosophical meaning to

God Zeus gave himself up beautiful Danaya. He was humble in front of strength, power, wealth, beauty, and tenderness. When we speak about technique of the art work, we can remember the speech of Ziyadkhan Aliyev at

khan Aliyev said that Mayis Agabayov was an artist who had

Soviet time: - an artist must activate only one sphere. That is to say he/she could work only at the field of painting, or graphic. At that time only an artist Mikayil Abdullayev tested himself in the entire field of painting by using his popularity at the society. At this time I would like to compare Mayis Agabekov with Mikayil Abdullayev. Education of Mayis Agabekov connected with cinema, but he is also a painter, master of landscape, he has also little

Career of Mayis Agabayov is broad. He is an artist who makes spectators think. At his art works the state of being advance guard and contemporaneity are real, at the

104 artists, but they do not reflect the reality. But, reality is reflected wholly at the art works of Mayis Agabekov. Absheron School activated in Baku in1960s, there is frankness at this school. There must be frankness at the root all of the profession. There is unity of closeness of national root and deriving advantage from traditions at the art works of Mayis Agabekov. Mayis Agabekov analyses decorativeness and deformation, approaches logically. There is philosophical generalization at the art works of Mayis Agabayov. The spectator, looking at the art works of Mayis Agabekov, tastes aesthetically, as well thinks. He is an artist who to cause everybody to think. I would call creative work of Mayis Agabekov a

Brightness of colours, decorativeness and various deformations in his art works determine his style. As the artist, says, every artist is topical for his time, but after his period he is not interesting for future generation as his time. The real artist is a person who can make innovation and suggests people to see everything with his eyes. He says that Tahir Salahov engraved wind on the canvas first time in Azerbaijan painting. He remembers Tahir Salahov how beautifully created oilmen who were coming against wind. He gives an example that another Azerbaijani artist Togrul Narimanbayov describes a pomegranate as blood of man first time in art. Mayis Agabekov speaks about the period that artists did not have opportunity of free creation, hard

Narimanbayov was criticized very strongly in 1962. He said that all of the popular and firm critics and other art critics except Tahir Salahov criticized this art work. There was such injustice to Mayis Agabekov, too. The artist came face to face with very firm censorship in wanted to change the name of work, but then, generally, exhibition of this work was forbidden. But such attitude did not extinguish revolutionary spirit of Mayis Agabekov, and compelled him to work with vanguard style. Mayis Agabekov mentions that it is very important to do some creative work firstly. He gives example that Firdovsy spoke ly.

105 Also, Mayis Agabekov says that among foreign artists English artist Torner, firstly, described mist in London at the beginning of XVIII century, after him other artists began to describe London with mist. The art works of Mayis Agabekov, dealing with the subjects which are against to each other such as gain and evil, strength and weakness, black powers and white powers, also, at the philosophical art works inform us that he is the first artist in this sphere. A falcon figure with the unity of woman created as a sign of delicate

Agabekov does not strive to create landscape works, he does not dare to draw any landscape after landscape artist Sattar Bahlulzadeh , according to him, after Sattar he see landscapes with his eyes and does not effort to create something much prefers to create works which he feels and he sees and he engraved on the canvas with great enthusiasm. Without paintings, sketches from Thailand, Singapore, and Malaysia influenced his career very deeply.

The idolater. 1986.

Büdp r st.

106

The girl who sells banana.

Banan satan q z.

The view on the street.

M b dd .

rk- this work was created as a work of painting and sculpture. As the artist

said, he has always tried to be vanguard artist. To be vanguard artist means that you are leading artist. Every period has its own vanguards. Vanguard artist must conduct people, must see future as well must performed new ideas at his time. The artist considers that it is not good ability to work only at the frame of one style. Such as if an artist thinks about his working style beforehand, this work will not be created! At this work the artist tried to show struggle between power and weakness. The

Falcon is bird of prey. She hunts her catching within a

minute and kills it. The slender waist girl, taking the falcon on her arms, is an embodiment of tenderness. Another art work of the artist is

107

embodiment of power, strength. The woman, sitting on the bull, reflects tenderness and weakness. The art work A family which is calm, comfortable, living very happily, never insures itself from danger. As if, sword of Damocles, black stone, has been hung from sky and it is ready to make attempt to the happiness of this family at family,an adult man and woman, and an angel standing in some edge. Family is praying. The artist trying to extinguish anxiety of aggression to the family by calm

seek the aim which Rembrandt spy at his work. Mayis Agabekov speaks about some Azerbaijanis who departed from their national language, religious, culture in Soviet period, also and culture and forgot their nation. He presents people who returned to their nation after collapsing Soviet Union language and culture. That is a child, coming back to his father, tries his father to forgive him and he is sad. And the greatness of father is that he can forget his sinful son. The professor of The Azerbaijan State Academy of so. seeks material boon under the influence of rhymes of industry technology, and as a result of it his spiritual values began to loose its importance and these values are forgotten little by little from the beginning of XX century. It explains the situation which aroused because of substituting the emptiness in the society to aggression, as well. This art work deals with the abandonment of the protecting his moral values in XX century. At the past this man was the admirer of the beautiful arts. In this work the artist could achieve to reflect these global plots as a confliction of modern society by collecting Ancient Greek myths, based on the beautiful feelings, and Rome Empire myths, based on the aggression.

108

Bronze. 25x17x15. 2010.

«Model». 2010. Bürünc. 25x17x15.

109 - spirit) is described as an image of beautiful girl, striving for beauty and symbol of Psyche is described in that degree beautifully, even the love angel Amur felt in love with her when he saw such spirit of man. According to the plot, developing in the whole of myth, Amur joined to his love Psyche after hard adventures. Psyche events flow in the background of aggression environment, created by modern society. In such circumstance Psyche not only did not meet beauty but also understood nobody needs her beauty and this fine spirit was obliged to leave human society. In this situation someone was found to help her. This was wolf of Capitola who brought up Pem and Romul with her milk. Pem and Romul stood in the source of the aggressive empire of Rome and fought for creation of future empire. It is seen at the picture that the wolf tries to move away Psyche from society on her croup. Shade of colours on the picture cause everybody to remember not panorama of this light world, but the panorama which at the end of our world Universe explained in the holy book. The wolf must make the last movement. There is a little obstacle- the spot of sign to the hurdle which emperor of Rome defeated Ancient world by passing of frontier river Rubicon. Does Psyche let this last step? After all by passing this Rubicon the human Society would be creature without spirit! At this moment Amur came to opposite to Psyche from darkness with a lamp on his hand. Although wings of Amur were tortured by aggressive society, he was very tired, pale and feeble, but this Angel calls Psyche not to leave society, also he tries to convince her to return her beautiful spirit to the hearts of people. Amur understands that this event is the last chance of humanity. Otherwise mankind will be destroyed as a result of this aggression. As though Amur says: - Come back Psyche! Psyche thinks about making the last movement, she hesitates and is offended. As if the artist sends a message to mankind by the language of fine art: You must beautify your spirit, give back Psyche! It is our salvation! - three variant of this work had been worked by artist and this work has been carved on the canvas with oil. Each of the variant is very valuable as a complete art work. remember his

110 memories. When we talked at the workshop he said that it

change the name of art work. When the artist wanted to Holiday», he had

they gave up exhibiting it with different pretext. But such attitude did not extinguish revolutionary spirit of Mayis

The art work is kept at the special collection at Moscow at present. In this work the artist puts up resistance to hard events for our people happened in 90s, he praises that nation must go out from all these pangs to the honesty, cleanness again.

Novruz fragment oil on canvas

Novruz fraqment. k.y.b.

111

The mother, bathing her child and the grandmother, staying in 1986 oil on canvas 85x100 near her, clean crystal water and white sheet. .. These entire attributes make every spectators think. Mayis Agabayov is 6. one of the painters causing to think. He does not want his work is accepted at the first glance, it is necessary that a spectator stands in front of the work and continues to think about work after leaving exhibition salon, this is very aim of the artist. Also, the artist wants to call to the honesty, purity. Most of the people struggle for gaining money at the period Market Economy, try to get very expensive car, to live in the modern houses, but, after attaining their objects they are not satisfied with it. Mayis Agabekov feels sorry for them; their behaviors break this heart very deeply. The artist tries to stop them for a few minutes, and causes them to remember why we live, and helps them to understand the meaning and

112

pleasure of the life. But why was Mayis Agabekov interested in sculpture parallel with painting, why has he wanted to test his ability at the field of cinema painter, graphic master, as well at the sculpture? If we cast a glance to past, there will not be any difficulty for finding an answer to this question. Azerbaijan National Artist Mikayil Abdullayev was interested in sculpture at his elderly years, National Artist, caricaturist, follower of Azim Azimzade Najafgulu Ismayilov was interested in galvanoplasty. So this interest is not fortuitous. The artist wants to feel his works that is he wants to hold it, to see it and to feel it with his whole body. Some «Emalatxanada». k.y.b. 60x64. 1993. range works of Mayis Agabekov were copied to galvanic and monuments.

113 carpet wea symbol of strength and power, was worked by the artist more than once. Mayis Agabekov is one of the painters who always lives with vanguard ideas, strives to the highest beauty, to the highest profession and is critical to himself. If we say with his

After saying goodbye to him I left the studio. But I can not forget mystery of his works. Philosophical generalizes sharp dynamics, reflection of the restrained, strict colours on the canvas have deep meanings, indeed. Really, invocation of his works do not end with ordinary look at the gallery, spectators live with the impression of this secret world after living the salon. It is great happiness for the artist. If we say these works which were worked vanguard style according to their creation techniques, are poetry, we will not lie. Strong

ol of sculpture. Yes, today National Artist Mayis Agabekov is in the light of 70th years, I leave the workshop and wish him to burn this light more briskly. At the pedagogical activity, the artist advises his students to shun from pedagogues who praise their creative works. It is necessary for teachers should not give chance to students for finding their own way, and they must not try to create new artist looking like them. Also it is necessary for teachers not to forget that students are in the front step from them. Because students are young, talented and their future is ahead of them. He likes to speak often about his teacher in Moscow. Nowadays, Mayis Agabekov, attended to the get fatigued to apply his culture, his attitude with children.

114

«Ana v u aq» 1998. 37x12x6.

« », 1990. .

115 CINEMA

Mayis Agabekov, who likes reading from his early youth, prefers historical works more than others. He liked characters of J. Jabbarli. When he studied at the art school, he had wanted to create image of Babek, the character of the while he was studying at the Cinematography Institute in Moscow. He said to the students that he wanted to dedicate his degree work to Babek theme. But it was not advised him to created the revolutionary character Babek because it did not appropriate for that time. Fortunately the degree work was devoted to N. Narimanov. At that time the film about N.Narimanov by cinema-producer Ajdar Ibrahimov, was taken my theme and continued it. B responsibility very well. It must be mentioned that he maintained his degree work at the All-Union Cinematography Institut marks. He was at the museums of Baku, North Caucasus and Astrakhan for learning information about N. Narimanov, also explored historical documents, created many sketches connected with prominent revolutionary. Producer of the congratulated young diplomat and agreed with him to be opponent for maintaining his degree work. We must say that the young artist participated in the republican exhibition devoted to the 50th annual of Soviet Azerbaijan , in Baku and in 1972 All-Union exhibition, in Moscow very successfully. If there is the feeling of responsibility from the youth, it never leaves a person. This feeling was aim of Mayis Agabekov during his creation. The artist is very careful in all type of theme, either historical or contemporary theme. He is very exigent for himself. He draws so many sketches for a subject, then abolishes unnecessary sketches, after this he returns to abekov considers artist must be created before the film shooting. An artist must be ready when he comes to the film shooting area. And he spectator has not to

116 see work of artist at the cinema, if it happens, a film will has much trouble in creating films, especially historical films... When E.Quliyev deals with the cinema works of Mayis A bright lights of the photo cells and interviews, love of spectators and popularity- all of these often falls to producers, dramatists, composers, and actors share... In reality, at the creation of the cinema work, success and failure of the films often depend on his talent. This person is a producer artist

Mayis Agabekov is this. A spectator enters to the world so that he/she feels himself/herself at that time - old Mayis Agabekov, graduated from Moscow Cinematography Institute in 1965, and began his first work at the cinema. He worked as an assistant of artist in the fea

T.Tagizadeh in 1970. In this film T.Tagizade was a producer, N. Zeynalov was a painter, and Mayis Agabekov was clothes artist. While creating the sketches of this historical-revolutionary film, Mayis Agabekov paid attention to the harmony of clothes with the characters. It is reality that time must be also taken into account, but difficulty was not this because it was not so far past , to dress the main characters appropriately was an ultimate goal...And clothes painter achieved this. If we compare clothes sketch of Mirpasha, hot tempered, being against untruthful, spy mullah with Bakhtiyar, member of the Komsomol, fighter against enemy of revolution, we can see difference, peculiarity to the character. His success in the film im for his future works. He was invited as a painter assistant to the cinema differs with its peculiarity. He was invited to the film

1972. Shamil Mahmudbeyov was a cinema producer of this film. Subject of this film based on modern life of our youth. The shooting of the film "Nasimi", dedicated to 600th anniversary of notable person of Azerbaijan Imadaddin

117 Nasimi, was planned in 1973. Cinema-producer Hasan Seyidbayli together with M. Huseynov invited Mayis Agabekov as a producer painter. Mayis Agabekov, who loved the historical works so much, accepted this offer cheerfully. He carried out so many researches for learning the life of E.Nasimi and Naimi. Nasimi did not live in sedentary life, therefore filming must carry out in nature. It was not so easy to create atmosphere of XIV century. Emir Teymur began to attack against Iran and Caucasus in the youth time of Nasimi. Different stages of the film demanded to create various sketches. in Halab city is very effective. Shooting of the film were carried out in the historical places mostly. Such places had to be found that spectator observing the film ought to feel himself/herself in the middle Ages. Tent of Teymurlang, its luxury should be described so, that it does not differ from nature. of film had to be created according to time, and time had to be created according to them. Mayis Agabekov, used these delicate suitable times and psychological confrontation of the «N simi» filmin eskizl r. heroes skillfully, had worked by specific handwriting in the creation of the historical film indeed.

118 When the film about national commander Babek, began to be shot and Mayis Agabekov was invited to this film as a producer artist, the artist has already had considerable sketches about this film. After all this, sense had risen in his heart when he studied in the Art School. Babak was the second warlord of the Khurramis Movement after Javidan. This movement is known as an embodiment of heroism. The period of Babak, contrasts of that time, fight and the description of this fighting area and so on had to be shot on the nature. Because of it they selected places for nature near Nakchivan, Julfa together with famous ekov went to the Derbend castle of Ancient Azerbaijan for building decoration of the castle of Babek, conveyed filming in this pavilion. He stayed a month and half in Nakhchivan for preparing decoration of Bazz castle. must conform to the period, an artist firstly makes sketches, artist nature than studio. We must mention that Mayis Agabekov knows fine arts very well, and this knowledge always helped him for holding spirit of nature. It is possible to see this in all of the films of the artist. The environment is very significant for Mayis Agabekov when we speak about historical films. He does not agree with not filming films by corresponding to time. We get acquainted with opinions of national artist Mayis Agabekov at the n number dated 12th of May 2010 by Tarana S -and- white coloured version of the films. According to the artist each art work praises its time. Colouring white-and black films changes atmosphere of its time. The producer Tofig to shoot the film in white-black version by taking into account the time. To my view the dead producers would not want that their films were produced in coloured version,

Mayis Agabekov, giving production to historical films, attaches importance to learning the time very broadly. When he speaks about this subject he remembers prominent person Ziya Bunyadov who had a great role for

119 painter to the shooting of the film "Nizami" dealing with the life of the other geniuses poet Nizamy Ganjavy. Although he got acquainted with Khamsa of Nizamy Ganjavy from secondary school, it was impossible to shoot a film, dealing time and the ordered by the state and consisted of 2 parts. Researches, readings, visits to libraries and museums began again. In this The sketch for the film film the city Ganja had to be main city where the poet was born and grown up. But there was great difference between «Nizami» filmin eskiz. 1141- «M dr s ». so many difficulties for creating sketches, decorations and nature. Mayis Agabekov read articles about Nizami by Bertes,

Krimsky and other explorers and came to Ganja. He visited to tomb of Nizami in Ganja. People of Ganja keep their where Nizami lived in, was not kept. Because of it a house was built for film on the basis of sketches created by Mayis Agabayov. Main architect of Ganja F.Imamguliyev took great trouble for building this house. Nowadays this house is used as a memorial museum of the remarkable poet and is one of the historical places of Ganja. Historical films, such as introduced him to all cinema lovers and these films are at the top of the career of Mayis Agabekyov.

120 They created main foundation for his future works. After this, cinema producers appealed to him confidently for the filming of the modern, vital and serious films. These

Mayis Agabekov, producing more than 30 feature and documentary films as a production designer, says that it is also not easy to shoot modern films. The time does not adjust to place at the historical films and it is needed to spend years for solving problem by facing the difficulty of finding appropriate places. There are difficulties for searching character, dramatic composition of the images at the modern films. Both circumstances create known difficulties for creative staff of the film including producer The scenery building. painter.

He invited Mayis Agabayov to the film as an artist.

121 Mayis Agabayov speaks about his cooperation with E.Guliyev, when he speaks about cinema-producers. He said that they studied together, understood each other very well as a friend from their youth. After reading the script of the film, sketches were created as usual. Sketches which showed that film would grow with tragic ending are created. Especially, for showing by a stroke the fragility of the senses main character window completed this stroke. Creation of the stage images, adapting them to the place demand great patience and attention from the producer painter. revives in the screen. Unlike room of Ramiz, bright colours were used in here. The producer of the film is E.Guliyev, producer-operator is R. Gambarov. In opinion of Mayis Agabayov, colours at the film can be made alike to the reproduction colour of the applied art work, printed in the printing- original pieces is impossible in here. As Sariyya said, the main character of the work could not enter to the symbol of purity and cleanness Gumushgol, and she was afraid of not being But she believed to yourself at the end and came back towards her love. M. Agabekov did not use bright colours in this film, he used real life colors. Gumushgol is open blue, as embodiment of pure honesty, but the main characters of the work are modern young, their clothes does not differ from other modern people as many as. The p creative product of all staff. The process was example at the future film shooting and this proves that this process is indeed creative work of the staff. A sketch defines scale of the place corresponding to the character of the events, the depth of the filming place and dynamic activities place. The artist tries to find the last answer to questions asking him scenario, tries to open plastic image of the events, to discover idea essence, and its mood. He discovers present artistic thoughts by praising events, characteristic plan of scene. As an integral part of artist activity, creation of the clothes sketches of the film personages, searches, carried out in this field, is very important matter. The film "The execution day" created in the "Azerbaycanfilm " studio and demonstrated in screens in 1990, is the classic example of the necessity of the painter work at the cinema. Y. Samadoglu is scenario author,

122 G.Azimzade is producer. Painter work was carried out by Mayis Agabekov and A.Mammedov. Mayis Agabekov colours which defined the time and he did not make any mistake in here, too. There were some difficulties in this film, too, as other films. He could solve this problem by his talent. pavilion of the film studio and in here, stage of washing of the ruler was solved by the help of navy-blue colour. These colours, mutual relations of them give an idea to spectators imagination. When producers invite Mayis Agabekov to cinema, they are sure that he will be responsible for his work and he will understand them from firs word. Also, he will show his attitude to the style of materials and his experience will increase benefit of collective work. It is not accidental that producers invited Mayis Agabekov to the films which were devoted to painful events of the time. He won the sympathy of the community, was awarded international prizes. The producer Huseyn Mehdiyev invited Mayis Agabekov when

E. Guliyev says that he takes in delight in working with Mayis Agabekov. He worked his best films with Mayis Agabekov. E.Guliyev addressed to creative work of Mayis Mayis Agabekov is the specialist who always is in search. He sometimes makes a few sketches for the same stage. He chooses most valuable from them. has used so many beautiful elements of arrangement. In this child film there is the talent of the artist and very successful design. Mayis Agabekov says that he lived with E.Guliyev

Cinema painter must sometimes build sceneries in such difficult conditions, must prepare measure stages for filming, and is compelled to draw sketches. There was very interesting moment at the film on the King peninsula. In the place where we shot the film was preserve, there were so many gazelles. We built the

123 decoration near the sea on the peninsula. We built a house and assemble windmill. I had given the photo of windmill and I asked to workers to prepare in the mechanics department of the film studio. Everything was prepared as I ordered. The mill was brought and we built decoration at the seaside. The sketch for the film last night When the strong wind blew, it began to rotate wind mill... of the past year After this, the wind blew very strongly, so we could not know «Öt n ilin son gec si» filmin eskiz where it felt, we found nothing. Cinema work is always observed with different events. At the shooting process of this

Mayis Agabeyov, giving arrangement more than 30 films, was also invited to television films for giving arrangement to them. Aft possible to speak about tenderness of painter work. Art critic one room. Mayis Agabekov tried to show plastic description of each detail, being of the interior natural and convincing at the sketches for film. More exactly, his sketches have been overturned to the composition part of the style of the film. He did not satisfy with finding colours and forms of scenery and harmony of colous and light, at the same time, he felt their

124 «Nizami» filmin eskiz. «Q sird »

Mayis Agabekov wants to share his experience with

Art Worker of

is the greatest present not only for study of art, but also for all of the people, working at the sphere of cinema-painting, young artists and students. The book consists of VII chapters. In all chapters the artist opens details of cinema and artist work in this field. It is uncommon event. At the history of humanity there were so many jealous specialists not saying their secrets to anybody. But Mayis Agabayov

young artists. The first chapter of the book is called

ography

spectator accepts events on the screen as direct time of life

special activity spheres of the artist is a shooting process of the film

125 cinema the time of division such as clothes artist, decoration artist has passed. Indeed, such divisions do not help the artist, on the contrary it impede him. In our opinion there must be only sole artist of the film, he sees place, main characters, their clothes, and other accessories. All of them must be seen by his eyes. When an artist reads the scenario, he defines place- where must be built scenery, also which part of the film must be shot in the nature, and others in pavilion.

acquainted with the scenario of producer, has to know deeply approach specifically to this matter with the cinematographic

is Agabekov, sketches of artist, his opinion about scenery and nature shooting, plans arise when he reads scenario, and producer-artist must come to the shooting place with the particular ideas and ready sketches. It is true that some additions can be added by dramatist and scenario writer, such additions can appear during filming randomly, but basic work has to begin while working on the scenario. As Mayis Agabekov created so many sketches, was in Northern Caucasus, Derbend and Astrakhan while he was worki devoted to N.Narimanov. Or, he had already so many producer-artist. For this he lived in Nakchivan for a month and half, created scenery in here. Mayis Agabekov says that an artist must be in search everytime. In one word, the main aim of the artist in this work is achieving exactness and scenario. of the creative works of world cinema coryphaeuses such as Mikelanjelo Antonioni, Federiko Fellini, Pozolini and one of the founder of the Soviet cinema Sergey Eyzenshteyn. He mentions that Sergey Eyzenshtayn was not only prominent producer, but also talented artist. In the book there are persistently that the most basic originality in the creative work of the film is that it is based on sketches created by painter. When Mayis Agabekov wrote this conception he

126 based on S.Eyzenshtayn. In this chapter the examples of parallel with world cinema coryphaeuses. It is also

Kamil Najafzade, affirms once again that the work of artist ooting process, the artist, changed him to the piece of this life, could strengthen that is to say with the help of the art description strength of the colours room of been shown. In this chapter, the author also spoke about variety of sketches depending on fixing and the idea maintenance of reflecting problems and gave comprehensive information to cinema painter about this. The most interesting and readable chapter is called on the canvas, he compares descriptive commentary in the cinema with the searches of the artist on the composition, searches of the harmony on the canvas combine with descriptive commentary in the cinema. It is already the last effort, when the scenario was read, complete sketches were a bridge, a passage for descriptive commentary, and a descriptive commentary was a basis for the whole film, the film, creating on this basis, is a superstructure. The author necessary for artist staff working on the structure of film. Some suitable times of the film- level of the descriptive c characters, successful performance of artistic principles are

The author gives information about creation of es of used at the 30-40th years of last century, but nowadays nature is used at the film shootings more because there is very beautiful climate in Azerbaijan. The artist says that it is very hard to find appropriate place in nature for filming. When he says this conception he gives example that producer-artist N.Zeynalov and operator R.Ismayilov of the famous cinema-producer Tofig Tagizade were engaged in searching of nature for a long time. Mayis Agabayov was producer-artist on clothes in this film. Although he says that

127 his work is easy by displaying modesty, it is obvious for every inema is not so easy. Especially nature filming of the historical films is difficult even in our country having beautiful climate. It is

d being closely acquainted with the shooting process of these

complexes creating by the harmony of filming in pavilion and nature. But a spectator neither sees nor feels this complexes when he watches to the film. artist, having professional artistic culture, even cannot imagine not paying attention to solution of colouring Mayis Agabekov gave

m. As the author wrote in this chapter, conception of colouring position of scene. Everything in the cinema

gallery with the eyes of artist. These colours must be unique. is obvious case of conception shown above. In this chapter Mayis Agabekov mentioned regretfully that sketches are sometimes carried out by creative collective differently and they do not correspond to the given version, so during the shooting process artistry, meant by the artist, and does not turned out. It is impossible to do so. Because, as we mentioned above, the version, created during working on the scenario, is an imagination of the artist and creative group- producer, scenario writer, dramatist, operator must see present stage with the eyes of the artist, so artistry would not be disordered. Determination of the sceneries is very important in the shooting of feature film and Mayis Agabekov devoted seventh chapter of the book to this subject. The artist, attaching importance to determination of sceneries according to sketches, affirms his opinion which he has said in an interview:

128 The artist of the film is administrator and obvious that sceneries are very wide in comparison with sketches, to plan them and to place them fitting to place is required. There is an interesting project in the book, it is origin architect work.-required design of sceneries lines

approaches to any object as a production of creative

About clothes sketches of film characters are talked in the book. The book is rich with the photographic copies of the sketches, drawn to films in different periods by notable painters. It is very gratifying case that parallel with our coryphaeus cinema artists E.Rzaguliyev, N.Zeynalov, F.Bagirov, M.Huseynov, F.Ahadov, K.Najafzadeh, Mayis Agabekov, our young artists A.Meherremov, R.Ismayilov, R.Nesirov, T.Aghabayova prepared sketches for different films, and these sketches were shown in this book. . To our mind,

Agabayov, will help many artists in the area of Azerbaijan cinema for becoming perfect and learning the secrets of this art very deeply. Generally, cinema activity of Mayis Agabekov is a great school for new generation cinema painters in Azerbaijan. If the creative work of National Artist Mayis Agabekov was characterized only as a cinema artist, probably his wishes would be uncompleted. We read in the canvas, so it comes from his heart. If philosophical, thought exciting the artist, also agitates spectators, it n subject at the creative work of Mayis Agabekov. He himself confesses it, too. Probably, they found very few painters who do not create drawings in the mother subject. But, particularity of Mayis Agabekov is also obvious in this subject. The mother, at the art works of national artist, is very fragile heart, with baby, and preoccupied. We can see all of these in the poems of our immortal poet Shahriyar.

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Excitement at the art works of Mayis Agbekov, devoted to mother, is in harmony with the excitement of spectators, «Bahar n f si». k.y.b. 1987. indeed. It is these, pieces of art works being in Mother subject.

addressing to this theme r Then,

feeding mo excitement on the watching spectators. The calf of the cow waits for the woman. The woman is milking the cow. When she goes, the calf will suck milk. In this work very beautiful theme was praised. In general, Mayis Agabekov attaches special is in harmoniousness unity with her inside world, we do not make a mistake. This human subje range works laconic.

130 Art works of Mayis Agabekov, reflecting the nature, involve attentions. He likes to draw them in the nature.

gives beautiful mood to people. The sun shines very brightly, the city breathes in the clean air. These features can be

does not make superficial descriptiveness in his works, always romantic mood chases him. Creativeness of Mayis Agabekov, who has got unbroken personality, was worked very perfectly. Mayis Agabekov also likes to draw still life. Brightness

«Xalça toxuyanlar».

our national values.

131 Mayis Agabekov was very close to the profession of cinema artist, also, he worked as a producer-artist in more than 30 films in 1969-1990 and sometimes these reasons had made some difficulties for him to create drawing works, smallness of time did not allowed to this. When the period of

graphic works, and little plastic statues.

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The main feature of Mayis Agabekov, distinguishes

«Lay-lay». k.y.b. 60x70. 2003. him from other painters, is creating vanguard art works based on his fantasies, his imagination by using less bright colours. There is remoteness from the academic manner , affirmed itself, in his works. He does not draw literary characters, and his lines, strokes, acute perspectives speak with the language of colours.

se of it when spectators watch to his works, they feel calmness, as if this calmness makes a spectator think and find philosophical

compositions by using all of the elements of modern

As the artist says, any painter can not describe the nature, his surroundings as he sees, he absolutely will engrave his world, his features and his heart to this work.

133 Mayis Agabekov does not take great interest to nature, the nature is in second plan, bringing meaning, purpose of the art work and feelings to spectators is very important for him. Ultimate goal at he art works of Mayis Agabekov is going into philosophical world of colours and

Mayis Agabekov is an author of successful art works in the field of graphics. Bright colours, strokes, giving forms to figures and reviving them, were used in his graphic works.

works as in paintings. More than 40 graphic works were exhibited in the exhibition organized in Baku Art Museum in the artist prefers constant subjects in his activity and in his creative work range works have superiority. Plot line of the

among sculpture works. A beautiful girl sits on the powerful, Kinemot furious bull. In here the artist demonstrates unity of two great forces. His little statues are cast bronze. .

134

With film actor Ishakunov

The films which Mayis Agabekov gave staging, are the obvious case of his popularity as an artist. His art works speak with the language of colours. These art works were exhibited in our republic and foreign countries over and again and gave success to their author. His first personal exhibition was held in Baku in 1988. Mayis Agabekov says in one of the interviews: Each of the personal exhibition demands great responsibility from the artist. It is necessary to understand this feeling very deeply. I am not in a hurry for my next exhibition. Mayis Agabekov exhibited his art works in the city Avignon, in France and endearing words about the artist were written in the French newspapers and Painting and graphic art

135 works of the artist made success at the exhibition in Turkey in 1996, in 2000 London. In here personal exhibition of National Artist Mayis Agabekov was held (October) with the ompany. After a year- in 2001 personal exhibition devoted to 60th anniversary of Mayis Agabekov was only painting works were exhibited in London, but approximately 40 graphic works and approximately 10 plastic statues were exhibited in this exhibition. Beside graphic

National Artist of the Republic, the rector of the Azerbaijan State Academy of Fine Art, sculptor O. Eldarov, famous sculptor, professor, pro-rector of the Azerbaijan State Academy of Fine Art F. Salayev, cinema producer, E. Guliyev, professor A. Babayev congratulated the artist on successful art works and they appreciated his works very highly. Personal exhibition of the artist was held in the gallery named Sattar Bahlulzade in 2005. Art works of the artist, consisting of cinema sketches, were exhibited at the exhibition. is born, he sees first thing in a colour, I avoid from real colours, because none of the artist can see this, I use works many years ago Renaissance. There is not limit of the art, it is in the endlessness. If an artist feels that he has already achieved to ideal level, has created ideal work, it means that does not finish, nowadays he creates a great number art works and teaches the secrets of his profession to students. Mayis Agabekov had worked at the Azerbaijan State Culture and Art University from 1996. At present he is a professor at the

Academy of Fine Art.

136

Mayis Agabekov. 1959.

children of my nation too. Nobody can take the knowledge

We wish greater success to the National Artist Mayis Agabekov in cinema, painting, graphic, sculpture and scientific activities.

Vugar Abdullayev Doctor of philosophy in the field of study of art

137

Mü llif rs y g lm sind etdyi köm kliy gör Az rbaycan Dövl t R Elm sin öz t kkürünü bildirir.

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