AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI AZERBAIJAN NATIONAL ACADEMY OF SCIENCES НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА MEMARLIQ VƏ İNCƏSƏNƏT İNSTİTUTU INSTITUTE OF ARCHITECTURE AND ART ИНСТИТУТ АРХИТЕКТУРЫ И ИСКУССТВА

İncəsənət və mədəniyyət problemləri Beynəlxalq Elmi Jurnal N 1 (75)

Problems of Arts and Culture International scientific journal

Проблемы искусства и культуры Международный научный журнал

Bakı – 2021 Baş redaktor: ƏRTEGİN SALAMZADƏ, AMEA-nın müxbir üzvü (Azərbaycan) Baş redaktorun müavini: GULNARA ABDRASİLOVA, memarlıq doktoru, professor (Qazaxıstan) Məsul katib : FƏRİDƏ QULİYEVA, sənətşünaslıq üzrə fəlsəfə doktoru (Azərbaycan)

Redaksiya heyətinin üzvləri: ZEMFİRA SƏFƏROVA – AMEA-nın həqiqi üzvü (Azərbaycan) RƏNA MƏMMƏDOVA – AMEA-nın müxbir üzvü (Azərbaycan) RƏNA ABDULLAYEVA – sənətşünaslıq doktoru, professor (Azərbaycan) SEVİL FƏRHADOVA – sənətşünaslıq doktoru (Azərbaycan) RAYİHƏ ƏMƏNZADƏ - memarlıq doktoru, professor (Azərbaycan) VLADİMİR PETROV – fəlsəfə elmləri doktoru, professor (Rusiya) KAMOLA AKİLOVA – sənətşünaslıq doktoru, professor (Özbəkistan) MEYSER KAYA – fəlsəfə doktoru (Türkiyə) VİDADİ QAFAROV – sənətşünaslıq üzrə fəlsəfə doktoru, dosent (Azərbaycan)

Editor-in-chief: ERTEGIN SALAMZADE, corresponding member of ANAS (Azerbaijan) Deputy editor: GULNARA ABDRASSILOVA, Prof., Dr. (Kazakhstan) Executive secretary: FERİDE GULİYEVA Ph.D. (Azerbaijan)

Members to editorial board: ZEMFIRA SAFAROVA – academician of ANAS (Azerbaijan) RANA MAMMADOVA – corresponding-member of ANAS (Azerbaijan) RANA ABDULLAYEVA – Prof., Dr. (Azerbaijan) SEVIL FARHADOVA – Prof., Dr. (Azerbaijan) RAYIHA AMANZADE - Prof., Dr. (Azerbaijan) VLADIMIR PETROV – Prof., Dr. (Russia) KAMOLA AKILOVA – Prof., Dr. (Uzbekistan) MEYSER KAYA – Ph.D. (Turkey) VIDADI GAFAROV – Ph.D. (Azerbaijan)

Главный редактор: ЭРТЕГИН САЛАМЗАДЕ, член-корреспондент НАНА (Азербайджан) Зам. главного редактора: ГУЛЬНАРА АБДРАСИЛОВА, доктор архитектуры, профессор (Казахстан) Ответственный секретарь: ФАРИДА ГУЛИЕВА, доктор философии по искусствоведению (Азербайджан)

Члены редакционной коллегии: ЗЕМФИРА САФАРОВА – академик НАНА (Азербайджан) РЕНА МАМЕДОВА – член-корреспондент НАНА (Азербайджан) РЕНА АБДУЛЛАЕВА – доктор искусствоведения, профессор (Азербайджан) СЕВИЛЬ ФАРХАДОВА – доктор искусствоведения (Азербайджан) РАЙХА АМЕНЗАДЕ - доктор архитектуры, профессор (Азербайджан) ВЛАДИМИР ПЕТРОВ – доктор философских наук, профессор (Россия) КАМОЛА АКИЛОВА – доктор искусствоведения (Узбекистан) МЕЙСЕР КАЯ – кандидат искусствоведения (Турция) ВИДАДИ ГАФАРОВ – кандидат искусствоведения, доцент (Азербайджан)

Jurnal Azərbaycan Respublikasının Ədliyyə Nazirliyi Mətbu nəşrlərin reyestrinə daxil edilmişdir. N 3756. 07.06.2013-cü il.

Redaksiyanın ünvanı: Bakı, AZ 1143. H.Cavid prospekti, 115 Tel.: +99412/539 35 39 E-mail:[email protected] www.pac.az UOT 75

Elshad Aliyev Ph.D (Art Studies), Associate professor Institute of Architecture and Art of ANAS (Azerbaijan) [email protected]

Rena Abdullayeva Dc.Sc (Art Studies), Professor Institute of Architecture and Art of ANAS (Azerbaijan) [email protected]

“BATTLE OF CHALDIRAN” – A UNIQUE SAMPLE OF EUROPEAN FINE ART

Abstract. The famous Battle of Chaldiran took place between the Ottomans and the Safavids in August 1524. The battle ended with heavy losses on both sides and resulted in the victory of the Ottoman Empire. The Battle of Chaldiran is reflected in Safavid and Ottoman miniatures, also in European written sources. But, the painting “Battle of Chaldiran”, which describes the battle, is a unique sample of European fine art and it is preserved in Palermo, Italy now. The author and date of creation of the painting are unknown. We will try to investigate the work “Battle of Chaldiran” in this article. Key words: Shah Ismail, Battle of Chaldiran, Cristoforo Castelli, Palazzo Mirto, Ottoman-Safavid battles.

Introduction. A fierce battle took place between the Ottomans and the Safavids near Khoy on August 23 (in some sources 24), 1524. The battle ended with heavy losses on both sides and resulted in the victory of the Ottoman Empire. Although the Battle of Chaldiran was not a decisive result for the future of the Qizilbash, it dealt a serious blow to the Safavids’ military and political prestige and ended with the loss of certain territories. There is various information about the war in different sources. Almost all historical sources state that the Ottoman army was many times larger than Shah Ismail’s army [6]. Besides this, it is known that the wide use of firearms played a decisive role in the victory of the Ottomans. The battle is usually presented as an example of the effectiveness of firearm technology in textbooks. The Ottoman

3 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры army was armed with 500 artillery pieces besides janissaries and although the Safavid army had previously used firearms, there were no firearms in the battle of Chaldiran and consisted only of lightly armed cavalry archers [2]. As we mentioned earlier, Paolo Giovio wrote about the battle of Chaldiran in one of his works, or rather in “Commentario de le cose de’ Turchi” written for Emperor Charles V. The book, which was published in Rome in 1531, deals with encounter of Sultan Selim’s army of 200 thousand, most of which were cavalries, with Ismail Sophy’s army between Khoy and Tabriz (goes like Tauris in the work), on the Chaldiran Plain in 1514. He noted that Ismail had a beautiful cavalry army that you could not see anywhere else in the world, but that the cavalry was armed with daggers and there was no artillery [5]. The result of the battle of Chaldiran does not reduce the importance of Shah Ismail I’s personality for the history and statehood of the Azerbaijani people. As academician R.Mehdiyev said: “Regardless of the results of the battle of Chaldiran, Shah Ismayil’s genius and his services for the Azerbaijani people are undeniable” [7]. As a result of the battle of Chaldiran, the Safavid dynasty was not collapsed, the state did not suffer great territorial losses and Ismail remained on his throne for a long time, or rather until his death. There were legends about the Qizilbash for their bravery and courage during the battle and even rumors about Ismail I’s victory in Europe immediately after the battle. If we take into account the “distance” between Europe and Iran in the 16th century and in addition, the extremely slow spread of information, it can be said that the post-war information reached Europe a few months later. When foreigners heard rumors about the battle of Chaldiran, they spread the news in Europe. The painting “Battle of Chaldiran”. There are several miniatures describing Shah Ismail I’s military campaigns, battle and hunting scenes, including the battle of Chaldiran. But, the only painting in European fine arts describing the battle of Chaldiran is preserved in the Mirto Palace (in ital. Palazzo Mirto) House Museum in Palermo, in the south of Italy (Pic. 1.). The Mirto Palace was once the property of a noble family and now opens its doors to visitors as a house museum. A large, multi-figured painting is exhibited in the Tapestry Hall (in ital. Salone degli Arazzi). There is no information about the author of the work. According to the work technique, the author of the work is believed to be a German or Northern European artist. It is also supposed that this work is based on the memoirs of a person who took part in the battle of Chaldiran. The painting is the only work known to us

4 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) today, which painted by a European artist and describes the battle of Chaldiran. There is no information about how the painting came to Palermo, the south of Italy. There is no information about it even in the archives of the Palazzo Mirto Museum. An article about the painting by Italian Mirella Galletti, which was published in 2005, rouses interest. But, M.Galletti investigates the painting more in terms of historical events. The author compares the descriptions in the painting with some historical sources. There are also small notes by a restorer Mauro Sebastianelli, who restored the painting in 2007. Except one or two articles and information, there is no detailed information about this painting.

Pic. 1. «The Battle of Chaldiran». Canvas, oil. 359 cm x 198 cm. 16th-17th centuries. Palazzo Mirto. Palermo. Italy.

The painting “Battle of the Chaldiran” also attracts attention with its sizes. This work, which was painted with oil color on canvas, is horizontal, its length is 359 cm and width is 198 cm. The sky is described at the top of the painting and the mountains are described in cool colors in the distant background. You can see a big river flowing on the right. Tents have been set up on the right

5 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры bank of the river. Ismail I’s army is depicted on the right and in the foreground and Sultan Selim I’s army is depicted on the left and center. We see Sultan Selim I surrounded by Ottoman warriors lined up in a rectangular structure in the central part. Firearms, or rather cannons were lined up in the first rows of the army. But, Ismail I was described walking in front of his warriors on the enemy and as brown and with long beard wearing armor, a helmet, on a horse. We see a sceptre in Ismail’s right hand and a shield in his left hand. Probably, this figure is considered to be Ismail I Safavid according tothe sceptre depicted in his hand (Pic. 2.). Sultan Selim I, whom we see in the painting, also has a sceptre in his right hand. Currently, the capital of Chaldiran province, which is located in the territory of the Islamic Republic of Iran, in the region of West Azerbaijan, is Siyah cheshme. The geographical relief and nature landscape described in the painting “Battle of Chaldiran” attract attention for their resemblance to the area. Therefore, we consider that the author of the painting “Battle of Chaldiran” was aware of the geographical structure of the area where the battle took place.

Pic. 2. «The Battle of Chaldiran». The part that is supposed to describe Shah Ismail. Detail. Canvas, oil. 359 cm x 198 cm. 16th-17th centuries. Palazzo Mirto. Palermo. Italy.

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The work “Battle of Chaldiran” was restored in 2006-2007, the composition of the canvas and the paint layer on it was studied. It was analyzed by optical and infrared microscopy methods during restoration. In addition, various research methods were used. According to restorer Mauro Sebastianelli, the canvas was fixed to the frame and it is supposed that the frame is not original. The weaving of the canvas is similar to the weaving of the 16th century Venetian canvas [8]. There is some information about the battle of Chaldiran and the order of the Ottoman army horizontally, parallel to the frame at the bottom of the painting “Battle of Chaldiran”. The information is in Italian, but it is supposed that certain letters in the inscriptions were replaced by the letter “X” during the restoration many years ago. Galletti’s article states that the painting is 350 cm x 230 cm. Galletti emphasizes in his article that the work was painted in the style of Mannerism after the 1580s, most likely in the first half of the 17th century [3]. It should be noted that Mannerism was a style that existed from the 20s of the 16thcentury to the middle of the 17th century. Pantormo and Bronzino, who were teachers of Cristofano dell’Altissimon, are considered prominent representatives of Mannerism. M. Galletti suggested that the painting “Battle of the Chaldiran” was connected with the religious mission of Theatine in Georgia in the 17th century: “There was a talented artist in Theatine’s mission in Georgia. Cristoforo Castelli, who was in Georgia in the first half of the 17th century, created certain paintings “for the Shah of Iran” in 1642 at the request of the Iranian rulers in power in Georgia. Some of the paintings could reach Palermo, which is associated with the Georgian Theatine mission. In addition, most of the Theatines were Sicilians” [4]. Theatine Cristoforo Castelli carried out a religious mission in Georgia for a long time. Cristoforo Castelli’s work and activity in Georgia are very interesting. Castelli’s paintings have been investigated by Georgian researchers and numerous studies have been published on this theme. It is no coincidence that there are numerous paintings and notes describing the Georgian people, nature, lifestyle and clothing in Castelli’s albums. Castelli’s paintings can also be an important source in the study of Safavid and Qizilbash clothes. C.Castelli lived and died in Palermo after returning from Georgia to Italy. It should be noted that Castelli returned to Italy from Georgia in the 1650s and some of the albums were lost during his visit to Palermo. Castelli’s seven albums, which consist of thousands of pages rich in

7 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры paintings and manuscripts, are preserved in the Palermo Public Library now. Albums consist of not only drawings and sketches, but also various texts, reports and notes [1]. In my opinion, it is possible that the artist (or customer), who described the Battle of the Chaldiran, was inspired and informed by Castelli’s albums. For unknown reasons, the painting, which is preserved in Palermo for some reason, reminds me of the painting “The Battle of Alexander the Great and Darius” by German artist Albrecht Altdorfer (1480–1538). The painting, which was made in 1528-1529, is a sample of a wonderful painting in the military genre. The work, which was painted by the order of the Bavarian Duke Wilhelm IV, describes the battle between Alexander the Great and Darius III. As in the work “Battle of Chaldiran”, this painting describes a multi-figure composition, mixed geographical relief and space. If we pay attention, we see that the audience looks at the battle from the side of Alexander’s army in Altdorfer’s work. In other words, not the enemy army, but the supporters were placed in the foreground of the work. On the contrary, the Persian king Darius runs away from the audience in the opposite direction. The order of the armies relative to the audience is approximately the same in both paintings. As if the audience is a member of Ismail’s army in the painting describing the battle of Chaldiran. Most likely, the artist emphasized that Europeans support Sophy. There are certain similarities in the working technique and the composition solution of both paintings. From this point of view, probably, the Palermo sample was inspired or influenced by Altdorfer’s work. Conclusion. So, I believe that the painting “Battle of Chaldiran” preserved in Palermo is of great importance for Azerbaijani study of art. The painting can be an important source for studying the historical event. With the purpose of learning more about the battle and the painting in Palermo, Theatine’s mission and especially Cristoforo Castelli’s works, paintings and notes should be involved into research work. It should be emphasized once again that the painting describes the battle of Chaldiran and is a unique sample of painting created by a European artist. This work was supported by the Science Development Foundation under the President of the Republic of Azerbaijan – Grant № EİF/MQM/Elm- Təhsil-1-2016-1(26)-71/02/5

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REFERENCES: 1. Chikladze Marietta (2013) Cristoforo Castelli’s narration: between the word and image. Paper presented at: IFLA WLIC 2013 - Singapore - Future Libraries: Infinite Possibilities in Session 95 - Rare Books and Manuscripts with Asia and Oceania. Page 3.5. 2. Gábor Ágoston, Bruce Alan Masters. Encyclopedia of the Ottoman Empire. Facts On File, 2009. New York. Pag., 286. 3. Galletti Mirella. Kervan-Rivista İnternazionale di studi afroasiatici. Il dipinto della battaglia di Cialdiran in Sicilia. 2005. Page 25. 4. Galletti Mirella. Kervan-Rivista İnternazionale di studi afroasiatici. Il dipinto della battaglia di Cialdiran in Sicilia. 2005. Page 24. 5. Giovio Paolo. Commentario de le cose de’ Turchi. Roma. 1531. Pag., 44. 6. Morgan David. Medieval Persia 1040-1797. Second edition. 2016. Routledge. New York. Page 114. References in azerbaijani: 7. Mehdiyev Ramiz. Şah İsmayıl Səfəvi ali məramlı tarixi şəxsiyyət kimi // “Azərbaycan”qəzeti, 2012, 5 dekabr, N 271, s.3-6. Electron resources: 8. La_Battaglia_di_Cialdiran_nel_museo_regionale_di_Palazzo_Mirto_a_ Palermo_diagnostica_e_restauro_-_poster. https://www.academia. edu/8251811/

Elşad Əliyev (Azərbaycan) Rəna Abdullayeva (Azərbaycan) “ÇALDIRAN DÖYÜŞÜ” - AVROPA TƏSVİRİ SƏNƏTİNİN NADİR NÜMUNƏSİ 1524-cü ilin avqust ayında Osmanlılarla Səfəvilər arasında məşhur Çaldıran döyüşü baş verir. Döyüş hər iki tərəfdən böyük itkilərlə bitir və Osmanlı İmperiyasının qələbəsi ilə nəticələnir. Çaldıran döyüşü Səfəvi və Osmanlı miniatürlərində öz əksini tapmaqla yanaşı Avropa yazılı mənbələrində də təsvir edilmişdir. Lakin döyüşün təsvir edildiyi “Çaldıran savaşı” rəsm əsəri Avropa təsviri sənətində nadir nümunə olub, hazırda İtaliyada, Palermo şəhərində saxlanılır. Rəngkarlıq əsərinin müəllifi və yaranma tarixi məlum deyil. Təqdim etdiyimiz məqalədə “Çaldıran savaşı” əsərini təhlil etməyə çalışacağıq. Açar sözlər: Şah İsmayıl, Çaldıran döyüşü, Kristoforo Kastelli, Palazzo Mirto, Osmanlı-Səfəvi müharibələri.

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Эльшад Алиев (Азербайджан) Рена Абдуллаева (Азербайджан) «БИТВА ПРИ ЧАЛДЫРАНЕ» - УНИКАЛЬНЫЙ ОБРАЗЕЦ ЕВРОПЕЙСКОГО ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА Знаменитая битва при Чалдыране произошла между османами и Сефевидами в августе 1524 года. Битва закончилась тяжелыми потерями с обеих сторон и привела к победе Османской империи. Битва при Чалдыране отражена в миниатюрах Сефевидов и Османской империи, а также в европейских письменных источниках. Но картина «Битва при Чалдыране», описывающая битву, является уникальным образцом европейского изобразительного искусства и сейчас хранится в Италии, в городе Палермо. Автор и дата создания картины неизвестны. В этой статье мы постараемся исследовать произведение «Битва при Чалдыране». Ключевые слова: Шах Исмаил, битва при Чалдыране, Кристофоро Кастелли, Палаццо Мирто, Османско-Сефевидские сражения.

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UOT 745/749

Vugar KARIMLI Ph.D (Culturology ), Associate professor Institute of Architecture and Art of ANAS (Azerbaijan) [email protected]

PATTERN ELEMENT IN AZERBAIJANI ART CULTURE

Abstract. Rhythmic treatment of patterns is often found on carpets, fabrics, paintings, jewelry, architecture, etc. in art. Rhythmic treatment means the repetition of elements in all types of folk art. People have tried to decorate the environment, the places where they live, the things, the tools they use with different patterns from ancient times. Such pattern elements were more of a reflection of human artistic thinking. It is emphasized that pattern is an important element in works of artin this article presented by the author. Key words: art culture, pattern, ornament, art, element.

Introduction. Every art has its own necessary conditions for its creation. The main condition is the emergence of necessity for products to be produced in the relevant field of art. But, the main issue is the high artistic value of these products. The main caring of the ancient, semi-savage man was to find the food he needed for his life, to protect himself from natural dangers, as well as from the attacks of other creatures living in the same environment. He was not yet interested in aesthetic values. The solution to these concerns was to make life easier for people and to create the conditions for necessary comfort. Pattern, decoration, fresco painting created from the union of rhythmically replacing elements means meaning of ornament. It has different types, meanings and rules of use. Description of rhythm is an important condition in art and architecture. Rhythmic design of the ornament with patterns in the form of drawings on the fabric is often found in applied art. The history of the ornament shows that it has come a long way from the time of the creation of tools to the present day. People used to decorate their environment, places where they lived, things and tools they used with various ornaments in ancient times. The elements of ornaments have consisted mainly of images depicting the

11 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры four elements of nature, people, plants, animals, etc. since ancient times. Primitive people believed that the elements used in ornaments protected them from the dark forces of nature and the four elements of nature. The various simple elemental ornaments that they used protected them from black forces. That is why the ornaments were mainly reflected on the sleeves and skirts of their clothes. The interpretation of the main material. Ornamental elements on objects, clothes and tools used in everyday life were previously performed in the form of shallow dots, straight and curved lines. The dependence of primitive people on the dark forces of nature led to the emergence of more complex geometric shapes. Every geometric shape created at that time had a symbolic meaning and the most common circle meant the sun. The image of a circle reflecting the sun with its rays and wavy lines reflecting water became ornamental motifs used in folk applied art in ancient times. Even today, the compositional peculiarities of different types of patterns and the principles of artistic design of different types of ornaments are studied in the Azerbaijani folk applied art [8]. Masters of fine arts are now using the valuable traditions of our national art heritage in their works to create beautiful and artistic works. The application of our national art also makes an objective and constructive analysis of the artistic peculiarities of the works important. Experience shows that each work of art, as an artistic process, not only enriches the creative method of our artists and masters, but also contributes to the development of decorative-applied, high-level works of art, which are useful and ideologically important. An important stage in the development of the art of that period is associated with the discovery of copper. Belts are one of the most remarkable works in terms of their art and taste among our ancient bronze monuments. It fascinates people with its zoomorphic paintings and artistically crafted patterns on bronze belts found during archeological excavations in Karabakh, Gazakh, Gadabay and other places. Interestingly, the same clothing, weapons and household items described here can be found in the information on the ethnographic life of the Caucasian population provided by the Greek scientist Strabo. It should be noted that metal treatment was highly developed in the south of Azerbaijan at that time. Bronze man, bird figures, bronze made by Osman Salman oglu Nakhchivani in 1190 are interesting examples of art culture among the

12 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) works of art found in Beylagan during archeological excavations. These monuments of art give grounds to say that most of the metal products used by our people at that time were made of bronze. Tabriz was famous in the field of artistic metal crafts in the 14–15th centuries. The famous Venetian traveler Marco Polo, who traveled to Azerbaijan in the second half of the 13th century, emphasized the greatness of Tabriz and its role in the development of various art types. The making of metal household things, weapons and ornaments was especially widespread in Tabriz, Ardabil, Maragha, Nakhchivan, Ganja, Shamakhi and Baku during the 16-17th centuries. Weapons and armored clothes made by Azerbaijani artists became widely known abroad at that time. The weapons made by Shamakhi artists during this period are also valued in Russian sources. We find information in one of such sources that the Russian Tsar Boris Godunov spoke about 8 decorated armored helmets made by Shamakhi masters. The shield, known for its unparalleled beauty, was said to be one of the weapons used by Russian Tsar Mikhail Fedorovich Romanov during the war. This shield, which is 50,8 cm in diameter, was made of solid red steel and decorated with gold in the style of khatamkar. We should also mention two interesting works of this period in Azerbaijan. Both are helmets worn by nobles during the war. One of the helmets is currently kept in the Arms chamber in Moscow, the other in Istanbul. It is noted on the second helmet that it was made for Shah Tahmasib in 1528. For the first time, the first armored helmet is shown in the list of weapons brought from Shamakhi to Russian Tsar Boris Godunov. Later, this shield, which was distinguished by its art, belonged to Prince F. Mstislavsky. Today, the weapons collection of the Azerbaijan National History Museum not only reflects the socio-political events of our history, the glorious pages ofour military history, but also it tells about the development of the Azerbaijani school of armaments, the professionalism of the art of the time [5]. There are examples of calligraphy among the decorations of the helmet. They were placed on the forehead of the helmet with a wide girdle.The words “In the name of the Almighty and the Most Merciful Allah” are written here. The investigation of our artistic culture shows that different fields of art are historically close and have similar aspects. Knitting, weaving and stitching have played a very important role in human life and culture. It is impossible

13 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры for similar or different type of materials to be connected, associated with each other, to be used effectively, i.e. to be fully created. In fact, there were no means needed to combine the things and certain materials at the disposal of the ancient man. From this point of view, knitting, weaving and stitching were the first opportunities used in the creation of human household things. Based on this, we must say that it is necessary to distinguish weaving as the main art type in the life of our ancestors, regardless of which product is woven, which components are stitched [3]. Historically, traces of the people’s favorite art are also expressed in its language. It would be more effective to look in the lexicon of a relevant field of art. Woven wares as an important field of art, which were made of reeds and various plants, did not differ in durability, although they were historically created in ancient times. Nevertheless, the technology of making such woven wares has come down to our time. Bast mat and other household things woven by women are still developing as folk art in the regions of our country at present. It is important to say that various patterns and ornaments on these items also give them a special artistic and aesthetic appearance. Interestingly, such patterns and ornaments were later used in carpet weaving. Embroidery, the oldest art form, is one of the most widespread fields in houses. The distinctive peculiarity of this art is the application of various patterns and images on leather, fabric, felt, etc. with needles and thread. Colorful dyed cotton, wool, silk threads, golden-silver threads called gulabatin (golden embroidery), pilak (embroidery with sparkles), small delicate beads, precious stones, colored pieces of fabric, etc. are applied in the embroidery and the artistic and aesthetic measures are also taken into account in this case. The culture of primitive embroidery, which emerged during the period of the primitive community, later became a kind of art that reflected the national peculiarity for different peoples. The art of embroidery was further improved and became an integral part of the cultural development of carpets through the replacement of stone needles with bone, later with bronze and steel needles and the predominance of weaving, dyeing and other fields in spinning in the process of development of household culture. There are different types of embroidery: takalduz (tambour embroidery), covering, filling, stitching, tricks, tuile, latticed, etc. according to the method of processing of gulabatin (golden embroidery), pilak (embroidery

14 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) with sparkles), julma (loop embroidery), etc. and according to the artistic decoration material. For example, the embroidery of gulabatin and its other types are considered to be the art of ornamentation as well as the culture of embroidery [1]. Artistic fabric is a special form of artistic culture - a woven fabric product decorated with artistic and decorative patterns. As a rule, artistic fabric masters prefer to use legendary, religious plots, floral, geometric or mixed painting motifs in their patterns. So, in this case, the most important condition is the plot of the distinguishing pattern and the skillful application of weaving on the fabric. Carpets and carpet products decorated with different shades of color, pattern elements and images are artistic weaving products [1]. Weaving products are widely used in the decoration of hut, tents, as well as on the walls and floors of houses and other buildings, also give an aesthetic charm to people’s lives. Besides its high artistic qualities, the carpet played a certain role in keeping the heat inside the room and preventing environmental noise. The type of art related to the woodworking field is ornament and skill of shabaka. Although these areas have found their place in everyday life, we need to comment in a modern context as they are related to woodworking. The authors did not pay much attention to this topic, as the shabaka method is more commonly used in jewelry [4]. In general, shabaka art is an example of intangible heritage as an artistic constructive form in Middle Eastern and Near Eastern architecture and decorative applied art [6]. Shabaka means net, cage in Arabic. Experience shows that skill of shabaka – the art of shabaka is mostly used in the field of wood carving. Craftsmen know that the elements of the shabaka are fastened to each other with solder in jewelry and but individual parts made of wood are put on each other and tied in the skill of shabaka. Using of the word “dam” in this art form is associated with this. It is true that skill of shabaka requires special technology. Our craftsmen skillfully use appropriate technologies. But, the important thing is that a beautiful example of art emerges, a phenomenon that reflects the cultural level of people and delights the audience appears in the end. The application capabilities of sbahakas and skill of shabaka are great. These art subtleties are creatively used to make doors, windows, partition walls in architecture and in the construction of pulpits of mosques. Today, skill of shabaka is widely used in window irons in houses. The iron strips are connected to each other by rings in iron windows of different shapes, which give an artistry to an ordinary window. We see the best examples of skill of

15 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры wooden shabaka in the pulpit of the Ganja Juma Mosque (the 18th century) and in the windows of the Palace of Sheki Khans (the 18th century) in Azerbaijan. It should be noted that it has found its application as an artistic constructive form in the Middle Eastern and Near Eastern architecture and the decorative-applied art due to its nature. This form is widespread in the art of jewelry, calligraphy and metalworking. There are four types of shabaka and skill of shabaka in architecture: stone, brick, wood and aslant shabaka. It is important to distinguish these types according to structural and treatment peculiarity of material. Because wooden shabaka are assembled, but stone shabakas are carved. One of the peculiarities is that the craftsmen prefer the motifs of curvilinear floral patterns in the late shabakas. Craftsmen sometimes decorated such shabakas with enamelled pottery fragments. Decorative items such as bracelets, necklace, earrings, etc. were made by the shabaka method in jewelry. When making the shabaka, craftsmen melt non-ferrous metals (gold, silver, melchior) in special containers and then pour them into moulds. Not hardened alloy is passed through a certain hole of the hedde (rectangular steel tool with holes of different sizes on it) and made into a wire. This wire is called “spinning” in mastery of shabaka. Making jewelry is a special technological process. But, in all cases, jewelry should be an example of artistic aesthetics that delights people in the world, including in Azerbaijan. Therefore, it is no coincidence that these works of art not only amaze tourists, but also make a good impression on the artistic culture of our people. Conclusion. The figurativeness of paintings and petroglyphs is an example of artistry. We see this in the example of paintings and petroglyphs. Petroglyphs tell about the way of life and traditions of our ancestors. Gobustan rock paintings, which are a unique monument in our land, contain preliminary information about graphics, one of the oldest types of art. It should be noted that the paintings engraved in Gobustan cover the period from the Early Neolithic to the Middle Ages and their number exceeds 6,000 [7]. There are also paintings that are about 25,000 years old. Necklace with five rows on the neck of a statue of a woman and a metal comb were found in one of the archeological excavations. Another female figure found during archeological excavations in Aghsu has a large medallion necklace around her neck, which suggests that such jewelries are not only the product of ancient times, but also a unique example of artistic culture. These findings also indicate the evolution of

16 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) processing methods, the range and variety of things and most importantly, their aesthetic value. Bone was also used as a material in the making of jewelry. However, it should be noted that the type of artistic carving in decorative-applied art is one of the oldest and most widespread types of decorative-applied art due to its nature. The method of carving on stone, wood, aslant, metal, bone, etc. is an obvious creative method of artistic work, in other words, it is the creation of artistry. The difference here is the use of artistic carvings, which are widely studied in Azerbaijani art, in the interior and exterior design of architecture, in houses and in the decoration of commonly used items. The professionalism of our masters and craftsmen is that they were able to create patterns from various lines and geometric figures. Today, different countless such patterns are still used in all spheres of Azerbaijani folk art.

REFERENCES 1. Ağayev V. Xalçaçılıq və toxuculuq. http://novxanililar.narod.ru/index/ xalcaciliq_v_toxuculuq_duz_istehsali/0-79 2. Əliyeva K. M. Ornament tarixi. Fənninin proqramı. – Bakı,2002. 3. Fərəcov S.Toxuculuq sənəti tariximizdən. http://medeniyyet.az/page/ news/19918/Toxuculuq-seneti-tariximizden.html 4. Salamzadə Ə.Ə. Tofiq Rəsulov. Şəbəkə. – İstanbul, 2009. 5 Vahabova S. Muzeyin zəngin silah kolleksiyası qiymətli tarixi mənbədir. https://azertag.az/xeber/Muzeyin_zengin_silah_kolleksiyasi_qiymetli_ tarixi_menbedir-1473593 6. Керимов К.Д. Стенная роспись. – Б., 1983. 7. Мурадова Ф.М. Гобустан в эпоху бронзы. – Б., 1979. 8 Саляхутдинов Р.Н. Основы создания орнаментальной композиции. – Казань, 2015.

Vüqar Kərimli (Azərbaycan) AZƏRBAYCAN BƏDII MƏDƏNIYYƏTINDƏ NAXIŞ ÜNSÜRÜ Bədii sənətdə naxışların ritmik şəkildə xalçada, parçada, rəsmdə, zər­ gərlik­ ­də, memarlıqda və s. işlənməsinə tez–tez rast gəlinir. Ritmik işlənmə xalq sənətinin­ bütün növlərində elementlərin təkrarı deməkdir. İnsanlar hələ qədim dövrdən­ ətraf mühiti, yaşadıqları yerləri, işlətdikləri əşyalarını, əmək alətlərini müxtəlif­ naxışlarla bəzəməyə çalışırdılar. Bu cür naxış ünsürləri

17 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры daha çox insanın­ bədii təfəkkürünü əks etdirən təsvirləri təşkil edirdi. Müəllifin təqdim etdiyi­ bu məqaləsində bədii sənət nümunələrində naxışın mühüm ünsür olduğu vurğulanır. Açar sözlər: bədii mədəniyyət, naxış, ornament, bədii sənət, ünsür.

Вугар Керимли (Азербайджан) ЭЛЕМЕНТЫ УЗОРА В ХУДОЖЕСТВЕННОЙ КУЛЬТУРЕ АЗЕРБАЙДЖАНА В декоративно прикладном искусстве узоры, построенные на рит- мичном повторении, используются в коврах, тканях, картинах, в раз- личных украшениях, в архитектуре и т. д. Ритмическое развитие озна- чает повторение элементов узора во всех видах народного творчества. С древних времен люди пытались украсить окружающую среду, места, где они жили, вещи, инструменты которыми они пользовались разны- ми узорами. Такие узоры были скорее отражением художественного мышления человека. В этой статье, представленной автором, подчер- кивается, что узор – важный элемент в произведениях художественно- го искусства. Ключевые слова: художественная культура, узор, орнамент, искус- ство, элемент.

18 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

UOT 7(091);7.03

Zamina Rasulova Shaki “Yukhari Bash” National Historical Architectural Reserve (Azerbaijan) [email protected]

WHAT DID JUAN VAN HALEN WRITE ABOUT SHEKI KHAN PALACE? CAN WE BELIEVE THAT THE SMALL SIZED MINIATURES WERE PAINTED BY AN ITALIAN?

Abstract. Sheki khan palace, a historical and architectural monument of world importance was included into the UNESCO World Heritage List in 2019.Both the facade and the interior of Sheki khan palace that the construction dates back to the XVIII century were decorated with the various shaped, plot, geometrical, plant, miniature and allegorical paintings. The miniature hunting and battle scenes which were painted on the second floor of the palace as attracts attention either for their size, placement ,or the topic were investigated by the local and foregin scholars,art critics and reserchers and transformed into the topic of the various articles, books and scientific works. But 142 miniatures which were painted in the main hall of the first floor, in divankhana room of the palace both for their small sizes and being painted within the stalactites which are at the intersection of the walls and the ceiling overlooked. But in fact the investigation of these paintings is one of the important problems for Azerbaijani art. But unfortunately as the mentioned drawings have not been scientifically studied till now some of the experts believe that the author of these paintings is not a person who drew other images, but a completely different, alien person, in short, a European. The reason for this conclusion is a sentence written by Juan Van Halen in his memories. In this article Juan Van Halen”s memories about Sheki khan palace will be analyzed. Will be analyzed extent of rightness of the claims that the author of the white and blue paintings or small sized miniatures depicted in the palace is a European. Key words: Sheki khan palace, Juan Van Halen, miniatures, an italian, drawing with Chinese manner.

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İntroduction. Juan Van Halen (1788-1864) who was deported from his native homeland Spain in 1818 served in the Tsar’s army for 18 months (1819-1820) and was directly involved in the unification of the Caucasus with Tsarist Russia. The original Spanish manuscript of Don Juan’s work that he had written during the exile, edited by the author of “DON ESTEBAN” and “SANDOVAL” and printed by J.and J.Harper under the title of ”Narrative of Don Juan Van Halen’s imprisoment in the Dungeons of the Inquisition at Madrid,and his escape in 1817 and 1818 ;to which are added,his journey to Russia,his campaign with the army of the Caucasus,and his return to Spain in 1821”, in English, in 1828, in New York. According to the book, Don Juan’s views on the Sheki khan’s palace are presented: ”Narrative of Don Juan Van Halen’s imprisoment in the Dungeons of the Inquisition at Madrid,and his escape in 1817 and 1818 ;to which are added,his journey to Russia,his campaign with the army of the Caucasus,and his return to Spain in 1821” [pp. 315-317]. “We entered Nougha at ten o’clock in the morning, and alighted at the palace of thelate Khan, where apartments had been prepared for us.As the Khan of this province died without issue, in 1819, it fell under the immediate government of Russia, and General Yermolow appointed to the administration.(Z.R.: The person who was mentioned that died without issue was Ismayil khan the last khan of Sheki khanate.)...The palace of the Khan was built at various times, and by different architects*. The principal part of this building, which was occupied by Prince Madatoff, and covered with carpets and tapestry,offered nothing very remarkable. The apartments of the commandant of the province were in the most modern part of the edifice, and consisted of a suite of rooms, adjoining a gallery, the walls and ceilings of which were ornamented with looking- glasses,bordered by a tasteful foliage, painted and varnished in the Chinese manner, by an Italian who had been employed by the late Khan ten years ago**. This gallery looked into a garden , in which there were several cascades, formed by the waters of the fountains by which this gallery was adorned and refreshed. Between the major’s and the general’s apartments is another garden larger than the former,and opposite to an interior staircase of the harem there is a basin of white marble, ten feet in diameter; which reminded me of that which is seen in one of the Moorish palaces in Granada, where the Abencerages were beheaded. Indeed the climate, the pure sky,and even the situation of Nougha, bear a great resemblance to that part of Spain, although none of the Khang, notwithstanding the wealth they amassed when

20 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) they arbitrarily disposed of the fate of the merchants and proprietors of the country, has left any monument that can be compared in taste or magnificence with those raised by the Moors in the two principal capitals of the south of Spain... During our dinner two very ugly Tartar women, who had been dancers in the harem of the late Khan, performed various dances and feats for our entertainment, with which, however, we could very well have dispensed. But my principal source of amusement was in the pictures which adorned the saloon, and which represented the extravagant exploits of Runstad (Z.R.: Most likely he meant Rustam), an imaginary hero of antiquity, the Orlando of the Persians, the drawing and painting of which were as imperfect as the verses of the ballad that commemorate his valorous deeds are outrageously bombastic***... We left Nougha, on the morning of the 24th of May...” 142 small miniatures placed among the stalactites of the divan room, on the first floor of the Sheki khan’s palace are interesting for their originality and content. The small size of these miniatures and their location in a difficult- to-see place have caused them to be overlooked by researchers. Thus, they moved away and became alienated. Later, based on the above-mentioned source, it was noted that the author of the paintings was a European. Interpretation of the main material. Based on the memoirs of Juan Van Halen, his sentences will be analyzed to investigate and draw conclusions about the fact that the Italian artist had worked in the Sheki khan’s palace. First of all, it should be noted that sometimes such authors write their memories after returning to their homeland, so sometimes there are mistakes and displacements. ”... The palace of the Khan was built at various times, and by different architects...” Most likely, the author did not mean a palace here, but separate buildings belonging to the palace complex located inside the castle walls which were built at different times, by different architects.Because in historical sources, in the act drawn up by Major Lisanovich on the condition of the Nukha fortress ,and in a letter from the Decembrist A. Kornilovich to his brother, written in Sheki in 1834 , it is said that there were about forty buildings inside the fortress walls, separate gardens and several fountains.Even on the plan of the city of Sheki dated on February 26, 1853, found in the Maritime Archives of St. Petersburg,show that the palace of Sheki Khan, which has survived to this day, is part of a large palace complex. So Van Halen was not talking about a concrete building.

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“...The apartments of the commandant of the province were in the most modern part of the edifice, and consisted of a suite of rooms, adjoining a gallery, the walls and ceilings of which were ornamented with looking- glasses,bordered by a tasteful foliage, painted and varnished in the Chinese manner, by an Italian who had been employed by the late Khan ten years ago...” According to Van Halen”s namely this sentence it is claimed that the author of the small miniatures depicted in Sheki khan’s palace is not an Azerbaijani,but a Europian,a Western, an Italian. Let’s clarify the sentence. “…The apartments of the commandant of the province were in the most modern part of the edifice...” Considering that other buildings were also built inside the castle after the Sheki khan’s palace, which has survived to the present day could be mentioned another one. “... the walls and ceilings of which were ornamented with looking- glasses,bordered by a tasteful foliage...”. Looking-glasses,mirrors had been used in Sheki khan palace.There are mirrors both on the ceilings of balconies and on the small ceiling of the first floor and also on the sides of the chimnies.But the walls of this palace are not decorated with mirrors. Considering the call of Shekikhanov”s house in the sources “Muzeyyen otag” (“Decorated room”) or “Qurgushunlu otag” (“Leaded room”) and appearance of more and antique mirrors on the ceiling and on walls of the living room in the Shakihanovs ‘ house, can be said that the convesation is not about the Sheki Khan’s palace, but about the Shakihanovs’ house. “…by an Italian who had been employed by the late Khan ten years ago...” When the author means the late khan, he means Ismayil khan. Ismayil khan was in power in 1814-1819. So İsmayil khan”s father Jafargulu khan Khoyski (1806-1814) employed the Italian. This is possible if it is taken into account that the Sheki khanate had trade relations with Italy, and that colored shebeke glass was brought from Venice. “... painted and varnished in the Chinese manner...” It is clear that the author does not mention either the name of the Italian or the fact that he is a soldier or an artist. Maybe he just repaired the broken parts.In addition, the miniatures in question are very small and could not be seen by the naked eye with the lighting of the time. If the person who wrote about these small miniatures was a restorer,an artist or an architect,

22 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) his words would no doubt be quoted. However it is hard to believe on the person”s observating these paintings and commenting on them who had been in Sheki very busy and in the parties during his two days visit. It is true that these small miniatures are very different from others. They are very similar to medieval Chinese painting. However, there is not enough evidence to agree with the idea that these paintings were painted by an Italian artist.Because when you study the paintings one by one, it becomes clear that even a painter who is able to paint marvellous paintings without knowing Azerbaijani life,culture and traditions cannot depict these so delicately.When it is talked about Chinese manner Boris Denike’s sentence is also quoted: “It is impossible not to see a connection between Chinese art, especially white-and-blue porcelain, in these paintings.” However, the white-and-blue porcelain depictions in the palace, which are called Chinese style, are not included only in the mentioned miniatures. On the second floor of the palace there are enough ornamental paintings in the same style. In general, the palace pays more attention to the use of blue colors over the natural white color of gac (CaCO3) plaster. However, this does not mean that these paintings were painted by a European who is familiar with the rules of Chinese painting. From ancient times, Sheki, located on the Silk Road, had cultural as well as trade relations with China. The motives of Chinese vases and other works of art could not be unlearned by local artists and painters. If it is taken into account that the formation of the Tabriz miniature school was influenced by the Chinese-Uyghur miniatures, then it should not be surprising to see this similarity in the Sheki khan’s palace. If 142 small miniatures,women dancers, giants, jugglers, various creatures, etc. investigated a more accurate conclusion can be drawn. It would be more accurate to compare the giants to Sultan Muhammad’s black pen method,and to look for the similarity of the other drawings in our miniatures. In addition, instead of varnish, egg whites were painted on the paintings in the Sheki khan’s palace in order to protect and brighten them. “...But my principal source of amusement was in the pictures which adorned the saloon , and which represented the extravagant exploits of Runstad (Z.R.: Most likely he meant Rustam), an imaginary hero of antiquity, the Orlando of the Persians, the drawing and painting of which were as imperfect as the verses of the ballad that commemorate his valorous deeds are outrageously bombastic....” When Van Halen said Runstad in this sentence, he probably meant Rustam Zal. However, there is no image in the Sheki khan’s palace

23 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры that can be compared to Rustam Zal. It is possible that there was such a description in one of the buildings that have not been preserved to this day. Another consideration may be related to the Sardar Palace in Iravan khanate. Iravan Sardar Palace was very similar to Sheki Khan Palace in terms of style, geography and general appearance. It is known that Mirza Gadim Iravani painted a portrait of Rustam Zal during the restoration of Sardar’s palace in the 50s of the XIX century. It is possible that in the original also depicted Rustam Zal in the Sardar Palace. Later it was destroyed, as was the Sardar’s palace itself. Although Van Halen did not mention in his memoirs that he had been in Iravan, he only writes about Goycha. Maybe he had visited the Sardar Palace in Iravan and later wrote about it together with what he saw in Nukha because the views were similar... Conclusion. Almost none of the inscriptions about the Sheki khan’s palace contain the fact that these small miniatures were painted by a representative of another nation. Even in the report on the last restoration of the palace by Denkmalpflege Mecklenburg GmbH in 2002-2004 though the restorations made at different times and the condition of the paintings are touched upon, the small miniatures painted on the stalactites are not mentioned as difference. In conclusion it is not accurate to accept the claims that small miniatures of the Sheki khan’s palace were painted by an italian who settled in Sheki based on the memories of Van Halen at least because there is not enough evidence. Because, as it is clear from the above-mentioned sentences of Van Galen, it is not clear exactly in which building and which paintings the Italian painted. Maybe there really was such a person, he painted in one of the buildings in the way mentioned by Van Galen. But, of course, that building is not the current Sheki khan’s palace. The fact that the 142 miniatures depicted in the Sheki Khan’s palace were painted in a different style than others does not prove that they were painted by a foreigner, but how talented, innovative and creative Azerbaijani artists and painters were. Sultan Muhammad’s paintings were also different. He also painted in a different style than other artists, and he was also Azerbaijani. So the difference is not that the author is a foreigner, but that he has a different worldview, a different approach, a different way of thinking. From this point of view, the identity of the author of the small miniatures mentioned in the article should be sought not in Europe, but in Azerbaijan.

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REFERENCE: 1 .Azərbaycan Etnoqrafiyası. Üç cilddə. II cild. – Bakı, 2007. 2. Salamzadə Ə.R., İsmayilov M.E., Məmmədzadə K.M. Şəki. – Bakı, 1988. 3. Şəki xan sarayı. – Bakı, 2006. 4. Juan Van Halen. Narrative of Don Juan Van Halen’s imprisoment in the Dungeons of the Inquisition at Madrid, and his escape in 1817 and 1818 ;to which are added,his journey to Russia,his campaign with the army of the Caucasus,and his return to Spain in 1821. Edited from the original Spanish manuscript,by the author of 1 “Don Esteban” and “Sandoval”. Printed by J. & J. Harper. – New-York,1828. 5. Аскерова Н. Дворец Шекинских ханов. – Б., 1979. 6. Бретаницкий Л., Датиев С., Мамиконов Л., Мотис Д. “Нуха. Азер­байд­ жан. // Сокровища зодчества народов СССР. Под общей редакцией акад. В.А.Веснина и проф. Д.Е.Аркина. – Москва, 1948.

Zəminə Rəsulova (Azərbaycan) XUAN VAN QALEN ŞƏKI XAN SARAYI HAQQINDA NƏ YAZIB? KIÇIK ÖLÇÜLÜ MINIATÜRLƏRIN HANSISA BIR ITALYAN TƏRƏFINDƏN ÇƏKILDIYINƏ INANA BILƏRIKMI? Dünya əhəmiyyətli tarix-memarlıq abidəsi olan Şəki xan sarayı 2019-cu ildə UNESCO nun “Dünya Mədəni İrsi” siyahısına daxil edilib.İnşası XVIII əsrə təsadüf edən Şəki xan sarayının həm fasad hissəsi,həm də interyeri müxtəlif formalı,süjetli,həndəsi,nəbati,miniatür və alleqorik rəsmlərlə bəzədilib. Sarayın ikinci mərtəbəsində təsvir olunmuş miniatür ov və döyüş səhnələri istər ölçüsü,istər yerləşməsi,istərsə də mövzusuna görə daha çox diqqəti cəlb etdiyindən müxtəlif yerli və xarici alimlər,sənətşünaslar və tədqiqatçılar tərəfindən araşdırılıb,müxtəlif məqalə,kitab və elmi işlərin mövzusuna çevrilib. Ancaq sarayın birinci mərtəbəsinin mərkəzi zalında-divanxana otağında olan 142 ədəd miniatür həm ölçüsünün çox kiçik olması,həm də tavanla divarların kəsişdiyi hissələrdəki stalaktitlərin içərisində təsvir olunması səbəbi ilə diqqətdən kənarda qalıb.Əslində isə Azərbaycan təsviri incəsənəti üçün bu rəsmlərin araşdırılması çox vacib məsələlərdən biridir.Təəssüf ki,bu zamana qədər qeyd edilən rəsmlər elmi-cəhətdən tədqiq olunmadığından bəzi mütəxəssislər hesab edirlər ki,bu rəsmlərin müəllifi digər təsvirləri çəkən şəxs deyil,tamamilə başqa,yad bir adam,bir sözlə avropalıdır.Bu qənaətə gəlmələrinə səbəb isə Xuan Van Qalenin öz xatirələrində yazdığı bir cümlədir.

25 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Bu məqalədə Xuan Van Qalenin(Juan Van Halen) Şəki xan sarayı ilə bağlı xatirələrinin təhlili aparılacaq.Sarayda təsvir olunmuş ağ-göy rəngli rəsmlərin və ya kiçik ölçülü miniatürlərin müəllifinin avropalı olması ilə bağlı iddiaların nə dərəcədə düzgün olduğu araşdırılır. Açar sözlər: Şəki xan sarayı, Xuan Van Qalen, miniatürlər, italyan, Çin qaydaları ilə rəsm.

Замина Расулова (Азербайджан) ЧТО ХУАН ВАН ГАЛЕН НАПИСАЛ О ДВОРЦЕ ШЕКИНСКИХ ХАНОВ? МОЖЕМ ЛИ МЫ ПОВЕРИТЬ В ТО, ЧТО МАЛЕНЬКИЕ МИНИАТЮРЫ БЫЛИ НАПИСАНЫ ИТАЛЬЯНЦЕМ? Дворец Шекинских ханов, всемирно известный историко-архитек- турный памятник, включен в Список всемирного культурного наследия ЮНЕСКО в 2019 году. И фасад, и интерьер дворца Шекинских ханов, строительство которого относится к XVIII веку, украшены разнообраз- ными формами, сюжетными, геометрическими, растительными, миниа- тюрными и аллегорическими росписями. Миниатюрные сцены охоты и сражений, изображенные на втором этаже дворца, которые привлекают больше внимания своими размерами, расположением и тематикой изуча- лись различными местными и зарубежными учеными, искусствоведами и исследователями и стали предметом различных статей, книг и научных работ. Однако 142 миниатюры в центральном зале первого этажа дворца, диванной, не были замечены из-за их небольшого размера и изображения сталактитов на пересечении потолка и стен. На самом деле изучение этих картин является одним из важнейших вопросов для азербайджанского изобразительного искусства. К сожалению, поскольку эти картины пока научно не изучены, некоторые специалисты считают, что автором этих картин является не человек, рисующий другие изображения, а совсем другой, иностранный человек, короче, европеец. Основанием для такого вывода является фраза, написанная Хуаном Ван Галеном в его мемуарах. В этой статье были проанализированы воспоминания Хуана Ван Ха- лена о дворце Шекинских ханов. Будет проанализирована степень спра- ведливости утверждений о том, что автором изображенных во дворце бело-синих картин или малогабаритных миниатюр является европеец. Ключевые слова: Дворец Шекинских ханов, Хуан Ван Гален, ми­ни­а­ тюр­ы, итальянец, рисунок по китайским правилам.

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UOT 7.001.89

Emil Agayev (Azerbaijan) [email protected]

PROMOTION OF AZERBAIJANI ART IN ZIYADKHAN ALIYEV’S RESEARCH

Abstract. One of the main tasks of scientists working in every field of science is to focus on the history, culture and achievements of their country in their works. As history and time develop, new fields of science emerge and scientists working on them work on new articles. If we pay attention to modern Azerbaijani art criticism, we must emphasize all these ideas. Honored Art Worker, Professor Ziyadkhan Aliyev in his works devoted a lot of space to the promotion of Azerbaijani art. In the articles and books of the art critic, we come across new ideas about the history of our fine arts. One of the successful scientific achievements of the art critic is the discovery of the authors of the works of Azerbaijani artist Usta Gambar Garabagh, prominent architect Ziverbey Ahmadbeyov, Sadig Sharifzadeh “Nasimi” by the method of attribution. The series of articles “History of a work” also provides accurate, accurate analysis and information about the famous works of our country. This article analyzes the promotion of Azerbaijani art, which plays an important role in the work of Professor Ziyadkhan Aliyev. Key words: Azerbaijan, Ziyadkhan Aliyev, art criticism, fine arts, professor.

Introduction. Art criticism is a scientific-academic field that combines different sections of art. The history and theory of fine arts, which are distinguished by their originality, have been studied by our art historians from time to time. If we look at the history of art criticism in Azerbaijan to the present day - Jamila Novruzova, Mursal Najafov, Pasha Hajiyev, as well as Sevil Sadikhova, Jamila Hasanzadeh, Telman Ibrahimov and others have played an important role in the study of the history of fine arts with interesting scientific works. We should emphasize the name of

27 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры the Honored Art Worker, Professor Ziyadkhan Aliyev, who has rendered invaluable services with his scientific works and monographs in modern Azerbaijani art criticism. Propaganda of Azerbaijani art in the scientific works of Ziyadkhan Aliyev. If we look at the work of Ziyadkhan Aliyev, the promotion of Azerbaijani art is the main leitmotif. Despite the fact that he repeatedly appealed to the creativity of A.Azimzade, B.Kangarli, A.Huseynov, E.Mikayilzade, O.Eldarov, F.Salayev, A.Hajiyev and other prominent artists in his more than 700 works, he once again proved himself with new achievements. confirmed. Professor Ziyadkhan Aliyev’s series of articles “History of a work” also provides information about the correct history and analysis of works that play an important role in the work of our artists. The article “The magic of Nizami Ganjavi’s light” published in the culture newspaper in 2016 provides a historical overview of the emergence of the iconographic image of Nizami in the fine arts, as well as a comprehensive analysis of Vagif Ucatay’s 1987 dissertation. This painting, which is currently on display at the National Museum of Azerbaijani Literature named after Nizami Ganjavi in Baku, is called “In the light of Nizami.” It should be noted that the work was created not in Baku, but in 1987 in St. Petersburg (former Lelingrad). The work brings together scientists from Lelingrad, who gathered in the light of Nizami’s genius. Although the large- scale composition reflects the anniversary celebration, the spirit of war is felt in the work as a whole. The art critic called the events in this work a secret meeting. The article “Monument to the poetic capacity of plastic” (2017) tells about the interesting history of the bronze statue of Omar Eldarov in front of the “Azerbaijan” cinema, one of the most crowded corners of the city. One of the interesting points of this article is took advantage of and recorded accurate information. One day, the artist Heydar Jabbarli presented an oil portrait of a woman to the council. Eldarov has been working on the monument for three or four years. But until then, his marble portrait was very popular. The famous sculptor still regrets that this work was bought by Moscow, not Baku, at that time. Because later it is impossible to trace him and determine his whereabouts, and he is forced to create this work for the second time, which does not fit into the genre of portraiture. According to Omar Eldarov, the first option was stronger in terms of artistic capacity. The sculptor completed his work on the monument to Khurshudbanu Natavan in the second half

28 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) of the 1950s in 1960. A bronze monument with architects A.Ismayilov and F.Leontyeva is placed in front of the “Azerbaijan” cinema. The figure of the richly dressed “Khan gizi” sitting in a chair looks attractive and even more magnificent from all points. Although there are some similarities between the marble portrait of the poet and the bronze figure, they differ in the plastic solution and details of making. The article “A New Artist’s View of Hophopname” (2018) emphasizes the importance of Sabir’s sharp language and Azimzadeh’s satirical graphics in the revival of our people. The main focus is on the series created by People’s Artist Arif Huseynov. The artist’s design for Hophopname, published on the occasion of the poet’s 150th birthday, and the forty new paintings that increase the weight of this publication in all senses are also considered to be a unique artistic solution, a successful synthesis of what he has done so far. It can be said that most of the poet’s poems, which are memorized in different languages, are treated in black and white. These illustrations are new and more attractive, first of all, because they are original due to the overall compositional solution. In this article, the art critic discusses “Mammadali’s love affair in Europe”, “Love of money”, “Death!”, “On peace” and others. While his works on poetry are an indicator of the artist’s high mastery, he considers modern book graphics as a worthy contribution to our art as a whole. Ziyadkhan Aliyev’s “History of a work” series of articles “How was the image of Nizami Ganjavi created?” (2017), “Monument worthy of the genius of Jafar Jabbarli” (2017), “Architectural chronicle of our glass” (2017), “Love of Ganja artist Nuru Pasha” (2017), “Polish love for the image of Nasimi” (2017), “Azerbaijani fairy tale of Novruz ”(2018),“ The first portrait of Samad Vurgun ”(2018) and others. includes interesting works from each other. Gennady Brijatyuk’s work, which is little studied in Azerbaijani art criticism, is one of Ziyadkhan Aliyev’s achievements. In 2018, the article “The Eastern Spirit of Gennady Brijatyuk” reveals the secrets of the artist’s work. Although his works did not find a place in the Azerbaijan National Museum of Art, he had a great influence on the development of our contemporary art in the national spirit. Indeed, it is said that it is difficult to comment on Gennady Brijatyuk’s “color magic” in Azerbaijani painting. The national, oriental spirit, which could be felt from the detainee, was “filtering”. In this article, the art critic not only notes the features of the work of Gennady Brijatyuk,

29 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры who is still unknown in the history of fine arts in Azerbaijan, but also presents his new works to readers. People’s Artist Altay Hajiyev presents the artist’s work in a comprehensive way in his articles “Author of the Gospel Questions” (2003) and “Fresh Colors of the Age of Wisdom” (2017). Along with the works of the People’s Artist such as “Conversation with Birds”, “Netavan Triptych”, “Family”, iconographic portraits, book graphics, monumental paintings were analyzed. “Unique carpet artist” (2006), “Creator of wonderful carpets: Eldar Mikayilzadeh’s“ Kahkeshan ”carpet is a new word in world carpet weaving” (2013), “Creator of the most unique carpet in the world”, dedicated to the creativity of people’s artist Haji Eldar Mikayilzade (2015), “A new contribution to Azerbaijani art:“ Creation ”is a new word in carpet weaving” (2011), Ziyadkhan Aliyev not only gives a wide place to the analysis of the carpet artist’s works, but also highlights innovation [3]. In his research, art critic-scientist devoted a large place to the fine arts of modern Azerbaijan. People’s Artist Farhad Khalilova in the articles dedicated to “Georgian artist’s success in Georgia: about the work of People’s Artist Farhad Khalilov” (2016), “Looking back. Jubilee portrait of People’s Artist Farhad Khalilov” (2016), “Philosophy of Simplicity” (2016). His works are presented in a new way in the context of theoretical analysis [3]. The main feature of the artist’s creativity is confirmed by various works in the article “Life soaked in cartoons” (2016), dedicated to the People’s Artist Jamil Mufidzadeh. Jamil Mufidzadeh’s love for his native land and its wonderful nature, historical monuments, which are an invaluable decoration and source of pride of the country, and the industrial objects that brought glory to the country, was so high, so sublime, in other words, a little Sattarsayagy. His repeated visits to the Oil Rocks, one of the new wonders of the world, his acquaintance with the ancient and rich, magnificent and unique architectural monuments of Azerbaijan, carpets and embroidery that embody the light of our ancestors’ eyes, the warmth of their hearts and hands, as well as stone carving and coppersmithing. If we add to this his acquaintance with Gobustan rock paintings and wonderful miniatures, we can say that the artist is facing a very valuable collection of spiritual values. Ziyadkhan Aliyev explains all these ideas in more detail in his article [3]. Conclusion. The article analyzes the works of the art critic, dedicated to Azerbaijani art, which occupy an important place in his work.

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REFERENCES: 1. Ağayev E. Sənətşünasların muzeylərin idarəetmə və inkişafındakı rolu:problem və perspektivlər. // “Müasir dövrdə effektiv idarəetmənin problemləri” mövzusunda V Respublika elmi-praktik konfransının materialları. Bakı, 2019. – s. 103-104. 2. Ağayev E. Müasir Azərbaycan sənətşünaslığının inkişafında Ziyadxan Əliyevin rolu. // Elmi əsərlər jurnalı, № 28, ADMİU, 2020. – s. 212-215. 3. Əliyev Z. Sənətşünas taleyi. – Bakı, 2018. 4. Əliyev Z. Səttar Bəhlulzadə romantizminin fəlsəfəsi. // Qobustan, №1, 2011. – s. 16-20. 5. Əliyev Z. Günahlı dünyanın günahsız adamı və yaxud Səttar Bəhlulzadə romantizmi. – Bakı, 2014. 6. Xəlilov A. Sənətşünaslığımızın Sabiri. // “Kaspi” qəzeti, 5 iyul 2018. 7. Sadıqov S. Sənətşünaslığımızın yorulmaz tədqiqatçısı. // “Palitra” qəzeti, 22 iyun 2018.

Emil Ağayev (Azərbaycan) ZIYADXAN ƏLIYEV TƏDQIQATLARINDA AZƏRBAYCAN INCƏSƏNƏTININ TƏBLIĞI Hər bir elm sahəsində işləyən alimlərin əsas vəzifələrindən biri öz ölkəsinin tarixi, mədəniyyəti, uğurlarını öz əsərlərində diqqət mərkəzində saxlamaqdır. Tarix, zaman inkişaf etdikcə yeni elm sahələri yaranır və bununla məşğul olan alimlərdə yeni məqalələr üzərində işləyirlər. Müasir Azərbaycan sənətşünaslığına da diqqət yetirsək, bütün bu fikirləri xüsusilə vurğulamalıyıq. Əməkdar incəsənət xadimi, professor Ziyadxan Əliyev öz əsərlərində Azərbaycan incəsənətinin təbliğinə geniş yer ayırmışdır. Sənətşünasın məqalələri,kitablarında təsviri sənətimizin tarixi haqqında yeni fikirlərə rast gəlirik. Atribusiya metodu ilə Azərbaycan rəssamı Usta Qəmbər Qarabağinın, görkəmli memar Zivərbəy Əhmədbəyovun, Sadıq Şərifzadənin “Nəsimi” əsərlərinin müəlliflərinin tapılması sənətşünasın uğurlu elmi nailiyyətlərindən sayılır. “Bir əsərin tarixçəsi” məqalələr silsiləsi də ölkəmizin məşhur əsərləri haqqında düzgün, dəqiq təhlil və məlumatlar verilir. Bu məqalədə professor Ziyadxan Əliyevin yaradıcılığında mühüm yer tutan Azərbaycan incəsənətinin təbliğinə geniş yer verilərək, təhlil edilmişdir. Açar sözlər: Azərbaycan, Ziyadxan Əliyev, sənətşünaslıq, təsviri sənət, professor.

31 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Эмиль Агаев (Азербайджан) ПРОДВИЖЕНИЕ АЗЕРБАЙДЖАНСКОГО ИСКУССТВА В ИССЛЕДОВАНИЯХ ЗИЯДХАНА АЛИЕВА Одна из задач ученых, работающих во всех областях науки, – со- средоточить в своих трудах внимание на истории, культуре и достиже- ниях своей страны. По ходу истории возникают новые области науки, и ученые, занятые в них, создают новые труды. Говоря о современной азербайджанской художественной критике, мы должны подчеркнуть эти моменты. Заслуженный деятель искусств, профессор Зиядхан Алиев в своих работах много места уделяет популяризации азербайджанского искусства. В статьях и книгах искусствоведа мы встречаем новые пред- ставления об истории нашего изобразительного искусства. Одним из значительных достижений исследователя является открытие имен ав- торов произведения «Насими» азербайджанского художника Уста Гам- бара Карабахи, выдающегося архитектора Зивербека Ахмедбекова, Са- дыга Шарифзаде. Цикл статей «История одного произведения» также представляет собой точный анализ и информацию об известных худо- жественных произведениях в нашей стране. В статье рассматривается популяризация азербайджанского искусства, играющая важную роль в творчестве Зиядхана Алиева. Ключевые слова: Азербайджан, Зиядхан Алиев, искусствоведение, изобразительное искусство, профессор.

32 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

UOT 069:001.12

Nazmin Jafarova PhD (Art Study) Department of Press and Information of the Administration of the Presidium of ANAS (Azerbaijan) [email protected]

THE CONCEPT OF THE MUSEUM OF THE HISTORY OF SHUSHA

Abstract. In the fall of 2020, during the Patriotic War, one of the most beautiful regions of Azerbaijan, Karabakh, was liberated from a long occupation. Along with clearing the territory of the region from mines, laying roads, creating the necessary infrastructure, here began the work to restore the cultural and archaeological heritage, damaged and destroyed monuments, museums, libraries and other centers of culture. According to official information, before the occupation in Karabakh were functioned 22 museums, 927 libraries, 4 art galleries and many other cultural institutions [1]. In the article presents the concept of the Museum of the History of Shusha. According to the concept, in the museum should be reflected all stages of development of the city, archaeological finds, architectural monuments, the development of literature, theater and music, Shusha cuisine, etc. Key words: Shusha, culture, museum, historical memory, architectural heritage.

Introduction. Museums of the history of cities are of great importance both from the point of view of documenting materials testifying to the uniqueness of cities and their transfer to future generations, and from the point of view of the development of the tourism sector, because guests visiting the city are primarily interested in its history, culture, sights. Along with the restoration of objects in the Karabakh region in accordance with modern requirements, here will be created new museums and other centers of culture. I think that among the new museums that will be created there should be museums of the history of a numbers of Karabakh cities. Of course, first of all should be created the Museum of the History of Shusha, one of the centers of culture, musical and poetic art of Azerbaijan. It is no coincidence that quite recently

33 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры the President of the Republic of Azerbaijan Ilham Aliyev declared Shusha the cultural capital of Azerbaijan. The interpretation of the main material. During the 44-day Patriotic War, through social networks were conducted many discussions and disputes with the citizens of the occupying country. It is known that, although Shusha has always been a city, the majority of whose inhabitants were Azerbaijanis this city has a so-called sacred significance for the Armenian side. Even by entering the words “City of Shusha” into the search system, the Internet also gives out the meaning of the name of the city in Armenian and the Armenian version of its origin. In the course of these discussions, the disputes could have been ended by asking the Armenian side just one question: “Please list the names of prominent poets, composers, architects, etc. of Armenian origin, which were born in Shusha”. That is, despite all the disseminated versions and distortions, there is one irrefutable fact: Shusha has never been an environment of compact residence of Armenians. Otherwise, this issue did not create such difficulties for our neighbors. Why dozens of scientists and cultural figures – from Mir Mokhsun Navvab to Uzeyir Hajibeyov, from Khurshidbanu Natavan to Suleiman Aleskerov, from Jabbar Garyagdyoglu to Khan Shushinsky – all of them are Azerbaijanis? The question is rhetorical... Considering all these moments, we consider one of the priorities to create the Museum of the history of Shusha. As the researchers note, a city museum is a non-profit-making, dynamic and evolving permanent institution or cultural mechanism in the service of the urban society and its development, and open to the public, which co-ordinates, acquires, conserves, researches, communicates and exhibits, for purposes of study, education, reconciliation of communities and enjoyment, the tangible and intangible, movable and immovable heritage evidence of diverse peoples and their environment. City museums are centers of coordinated activity for the cultural representation of the urban populations through: (a) celebrating the shared identity, sense of place and self-esteem of diverse peoples; (b) providing the focus and resources for community cultural development activities relating to the natural and cultural heritage of the urban center and the surrounding region; and (c) establishing a center of coordination for the preservation, presentation, continuation and management of artistic, cultural and heritage endeavors of all peoples [2, p. 41]. As in all our previous projects, we consider it mandatory to create this museum in accordance with modern standards. It would be useful to note once again that it is impossible to create in the 21st century institutions like the

34 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) classical museums of the 19th century. But museums based on technological achievements and principles of dynamism must necessarily reflect the unique flavor of Azerbaijan and the East as a whole. The use of multimedia technologies in the activities of museums will create ample opportunities for demonstrating dynamic and interactive programs and exhibitions in the regions of the republic and outside the country, and will also play a significant role in the imminent appearance of a virtual museum. There is the following practice in the world: first, a virtual museum is created, and after the appearance of the corresponding building, a traditional museum is organized. In both cases, the use of multimedia technology is mandatory. As the researchers note, one of the more exciting and challenging things about ‘museums of place’ is their freedom to explore an almost limitless range of curatorial and interpretative approaches. Photography, film, oral history, outreach programs, media centers, and so on, ail have their place in today’s city museum and are ideally placed to exploit one of its principal advantages over most other types of museum; for the city museum sits, quite literally, on top and in the middle of its raw material. The best city museums act as a starting-point for the discovery of the city, which can lead people to look with fresh, more informed and more tolerant eyes at the richness of the present urban environment and to imagine beyond it to past and possible future histories [3, p.6]. Thus, the Museum of the History of Shusha should reflect the most important historical events, starting from the inception of the city. In this section should be widely presented various documents, maps, photographs, records of foreign politicians and travelers about the origin of the city. We must not forget that our main goal is to convey to the museum visitors the history of the creation and development of the city of Shusha through visual materials that are far from distortion and lies. Taking into account the socio-political situation that has developed after the war and the prejudice of a number of countries towards Azerbaijan, work to destroy the stereotypes, falsifications and lies spread by the Armenian side and bring truthful information to the world community and the broad masses of truthful information should continue with even greater vigor. Museums play an irreplaceable role in this. And here we must arm ourselves only with confirmed facts and materials, without giving the enemy the slightest opportunity to refute us. In other sections of the museum should be presented materials on the archaeological and architectural heritage of Shusha, the development of fine arts, science, education, the activities of literary mejlises, the work of

35 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры poets, writers and playwrights – natives of Shusha, carpet weaving, etc. For example, the exposition will reflect such events as the stages of laying the city quarters, the activities and well-known graduates of the Shusha real school and other educational institutions, the political and social activities of the famous Azerbaijani poet Molla Panah Vagif, the majlises organized by a number of cultural figures, the public activities of Khurshidbanu Natavan and the historical meeting with Alexander Dumas, the activities of the prominent educator, literary critic and teacher Firudin bey Kocharli and much more. I think that in the Museum of the History of Shusha, a great place should be given to the contacts of our famous compatriots with foreign enlighteners, poets, composers, etc. Widely used in museum studies, this method will have the necessary impact on foreign visitors to the museum. An another section of the museum should be devoted to the contribution of the “Conservatory of the Caucasus” to the history of the development of the musical art of Azerbaijan and the whole world. Being the birthplace of such great musicians and performers as Mir Mohsun Navvab, Harrat Gulu, Haji Gusi, Sadigdjan, Meshadi Isi, Abdulbagi Zulalov (Bulbuljan), Jabbar Garyagdyoglu, Kechechioglu Muhammad, Mashadi Mammad Farzaliyev, Khan Shushinsky, Meshadi Jamil Amirov, Gurban Pirimov, our famous composers – Uzeyir Hajibeyov, Zulfugar Hajibeyov, Fikret Amirov, Niyazi, Afrasiyab Badalbeyli, Sultan Hajibeyov, Ashraf Abbasov, Suleiman Aleskerov, Vasif Adigezalov and many others, Shusha is rightfully considered the cradle of Azerbaijani music [4, p. 3]. Musical mejlises in Shusha, the development of folk music, vocal and mugham arts, prominent representatives of the musical art of the republic, as well as the development of musicology (for example, the contribution to the development of this scientific branch of one of co-founders of ANAS, famous composer, publicist and public figure Uzeyir Hajibeyov) – all these issues should be reflected in the exposition. And in this section, will be presented materials on the connections of well-known Shusha residents with foreign colleagues, political and public figures. For example, the meetings of Jabbar Garyagdyoglu with Sergei Yesenin, Fyodor Shalyapin and Reingold Glier, the activities of a native of Shusha, khanende Mejid Behbudov and his son, the famous singer Rashid Behbudov, etc. One of the sections of the museum should be devoted to the events of the Karabakh wars – the occupation of the city and its liberation exactly 28 and half years later. Our destroyed museums, monuments and mosques,

36 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) shot monuments, stolen and exported samples of our cultural heritage (from archaeological finds to carpets and carper products) – along with these issues, the exhibits displayed here should reflect human tragedy and joy, that is, the loss of simple people of their homes and the opportunity to return to their homelands today. Shusha is Azerbaijan, and we must broadcast this through visual means to the whole world. In the section will present photo and video materials, front-line memories, materials about the fighters and National Heroes of Azerbaijan who distinguished themselves in the battles for Shusha (here we will also talk about the ethnic palette of our country, because in the battles for the Motherland participated all citizens of Azerbaijan, regardless of nationality), as well as memories and things of ordinary people, letters, etc., materials about the history of our Victory and the liberation of Shusha. Of course, the submitted primary project will still be thoroughly finalized, specialists from various organizations will collect the relevant materials, after the designation of the building for the museum by designers and IT specialists will be prepared appropriate proposals. Like all big projects, the creation of this museum involves the joint work of a strong team. In the organization of the museum should be involved the Karabakh regional scientific department of ANAS, various scientific institutions of the Academy of Sciences, the Ministry of Culture, The State Agency for Tourism and other relevant structures. The collection of factual material should be based on an accurate scientific approach; the activities of scientists employed in various fields should be organized in a centralized form. The main attention should be directed precisely to scientific character, accuracy and wide application of technologies. In conclusion, we note that during the preparation of the article, we came across interesting information: after the occupation, the Armenian side created a similar museum and, relying on the exhibits collected here, represented Shusha as a completely Armenian city. The museum was created in a monument of our architecture that stands out for its style – the estate of General Samed bek Mehmandarov. Judging by the photographs, in the hastily created museum, the enemy did not even think about using any technologies and modern equipment. This proves once again that museums have a very strong impact. Through such museums, the Armenian side, which considers Shusha its city and tries to attract tourists from various countries here, broadcast distorted and invented information to the world. Before the occupation, in the House of Mehmandarov was functioned the Carpet Museum, more than half of the exhibits of which were saved and

37 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры transported to Baku in 1992. Shusha is free today! It is necessary to inspect that museum and analyze the exhibits presented in it. I think we will find there some of the exhibits from the museums looted during the occupation. Conclusion. Today Shusha has been liberated from a long occupation. The shot busts of Khurshidbanu Natavan, Uzeyir Hajibeyov and Bulbul have already returned to their hometown, work has begun to restore the infrastructure, cultural and architectural heritage of Shusha. The creation of the Museum of the history of Shusha can become an important point of “Return to Karabakh”. If a network of similar museums dedicated to different cities is organized, we will get a new tourist route and take an important step towards bringing the truth about Azerbaijan to the world community through modern visual means.

REFERENCES: 1. “Azərbaycanın tarixi və mədəni irsinə qarşı Ermənistanın törətdiyi cinayətlər” mövzusunda brifinq keçirilib. 28 oktyabr 2020. [Elektron resurs]: http://mct.gov.az/az/umumi-xeberler/13291 2. Galla Amareszuar. Urban museology: an ideology for reconciliation. // Museum International, № 187, 1995. p. 40-45. 3. Johnson Nichola. Discovering the city. // Museum International, № 187, 1995. p. 4-6. 4. Сафарова З. Шуша – цитадель азербайджанской музыки. – Баку, 2020.

Nəzmin Cəfərova (Azərbaycan) ŞUŞA ŞƏHƏRININ TARIXI MUZEYININ KONSEPSIYASI 2020-ci ilin payızında Vətən müharibəsi nəticəsində Azərbaycanın gözəl güşələrindən biri olan Qarabağ uzun illərin işğalından azad edilib. Regionda torpaqların minalardan təmizlənməsi, yolların salınması, lazımi infrastrukturun yaradılması ilə yanaşı mədəni və arxeoloji irsin, zərər çəkmiş və dağıdılmış abidələrin, muzeylərin, kitabxanaların və digər mədəniyyət ocaqlarının bərpası işinə başlanılıb. Rəsmi məlumatlara əsasən işğaldan əvvəl Qarabağda 22 muzey, 927 kitabxana, 4 rəsm qalereyası və bir çox digər mədəniyyət müəssisələri fəaliyyət göstərib. Məqalədə Şuşa şəhərinin tarixi muzeyinin konsepsiyası təqdim olunur. Konsepsiyaya əsasən yaradılacaq muzeydə şəhər inkişafının mərhələləri, arxeoloji tapıntılar, memarlıq abidələri, ədəbiyyat, teatr və musiqinin inkişafı, Şuşa mətbəxi və digər sahələr öz əksini tapmalıdır. Açar sözlər: Şuşa, mədəniyyət, muzey, tarixi yaddaş, memarlıq irsi.

38 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

Назмин Джафарова (Азербайджан) КОНЦЕПЦИЯ МУЗЕЯ ИСТОРИИ ГОРОДА ШУША Осенью 2020 года в ходе Отечественной войны от длительной ок- купации был освобожден один из красивейших уголков Азербайджана – Карабах. Наряду с очищением территории региона от мин, прокладкой дорог, созданием необходимой инфраструктуры начались работы по вос- становлению культурного и археологического наследия, поврежденных и разрушенных памятников, музеев, библиотек и прочих очагов культу- ры. Согласно официальным данным, до оккупации в Карабахе функцио- нировали 22 музея, 927 библиотек, 4 картинные галереи и большое коли- чество прочих учреждений культуры. В статье представлена концепция Музея истории города Шуша. Согласно концепции, в создаваемом музее должны найти свое отражение этапы развития города, археологические находки, памятники архитектуры, развитие литературы, театрального и музыкального искусства, местная кухня и т.д. Ключевые слова: Шуша, культура, музей, историческая память, ар- хитектурное наследие.

39 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

40 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

41 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

UOT 351.85

Gulchin Kazimi PhD (Culturology) Institute of Architecture and Art of ANAS (Azerbaijan) [email protected]

PROTECTION AND DEVELOPMENT OF NATIONAL CULTURE IN THE CONTEXT OF STATE CULTURAL POLICY

Abstract. Cultural unity and integrity play an important role among the elements that make up a nation. The article identifies the lines of successful development by showing the directions of cultural policy. “National cultural consciousness and opportunity must always be kept alive; Our cultural works must be protected, researched and explained to the world and to ourselves in the broadest sense; The cultural creativity of our nation must be systematically promoted”. The national culture of a nation is a set of common values formed by the ancestral heritage, material existence, greatness of faith and morality, richness of language and art and traditions that emanate from its national history. In order for a nation to exist and for the nations of the world to accept its existence, it is necessary for it to study cultural values in the light of science and to live and develop them consciously. In order for a nation to exist and to accept its existence for the nations of the world, it is necessary to study cultural values in the light of science and to live and develop them consciously. From this point of view, there is a need for a general cultural policy with clearly defined boundaries and realistic opportunities for the survival and development of cultural life. Key words: cultural policy, cultural values, independence, democracy, integration.

Introduction. A new approach to solving global, regional and local problems, issues of globalization and cultural integration is observed in modern world politics. The Republic of Azerbaijan also participates actively in this process, which requires the formation of democracy as a political

42 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) system. The synthesis of national and human values in the republic and the reforms implemented in the context of world experience create conditions for reaching the level of socially, culturally and economically developed countries of the world. The problems encountered in this process, which serves social, cultural and economic progress, make it necessary to study human history, world development experience and expand complex ties in the field of culture, all of which can be achieved only through perfect cultural policy. Today, a concrete policy is being pursued to strengthen the international recognition and independence of the Republic of Azerbaijan. Necessary decisions have also been made for the development of education and culture. The state apparatus, educational and cultural institutions are built in accordance with European standards. National-cultural, intellectual forces help to determine the direction of state policy through their comprehensive activities. The interpretation of the main material. Relying on the historical and cultural traditions of our people, our language, religion, national and spiritual values, the Azerbaijani state pursues its domestic and foreign policy in accordance with modern requirements in the new historical conditions. Preservation and development of our moral values is one of the main tasks of the cultural policy of the independent republic. The cultural policy pursued after gaining our independence creates a great basis for the preservation of our national and spiritual values and their transmission to future generations. This great achievement of our people ensures the use of our spiritual values, which are our national wealth, and their development and integration as an integral part of human values. By establishing a free and sovereign state, the people of Azerbaijan carry out cultural and economic reforms, return to their national and moral values and history and use the experience of democratic countries. Due to the fact that our state pursues such a democratic cultural policy and is integrated into the modern world culture, we must accept that we have to consciously make form changes without making major changes in our culture, i.e. without cutting off the characteristics of our national identity that need to be protected, without damaging our national and spiritual values, but based on the experience and the advanced achievements of science. Today, whether we like it or not, we cannot stay out of the globalization movement and the process of cultural integration. While not denying that the positive aspects of this process serve the cultural progress of our society, we must also think about preventing its negative manifestations.

43 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Achievements in the field of cultural policy prove that the state independence of Azerbaijan is strengthening and the process of building a democratic, legal, secular state in our republic is developing even faster. The late President Heydar Aliyev, who clearly understood that the foundation of statehood, the foundation of national existence depend on culture, said in a statement dated August 13, 2001: “We are proud of our national and spiritual values, our religious values and traditions. Our people have created our traditions, national and moral values for hundreds and thousands of years and these are the factors that constitute the spirituality of our people now”. The successful results and perspectives of the cultural policy pursued with confidence and loyalty by President Ilham Aliyev, who is a worthy successor of the political and cultural line pursued by our national leader Heydar Aliyev, are already visible. So, the Concept of Culture of the Republic of Azerbaijan was approved by the decree of the President of the Republic of Azerbaijan dated February 14, 2014 [7]. The main goal of the concept is to achieve the preservation, future development and successful integration of the ancient and magnificent Azerbaijani culture and art into world culture by developing priority areas such as protection of cultural heritage, support of creativity and revival of cultural industries in accordance with the requirements of modern times in order to bring the mechanisms of ensuring domestic and foreign state cultural policy to the level of world standards. The application of modern information and communication technologies in all areas of culture and art is envisaged as the core of the reforms to be implemented. The general goals and objectives of the “State Development Concept” defining the perspectives of cultural policy are to develop common issues such as cultural management, legal, financial, scientific and information support, human resource development, modernization of material and technical infrastructure and strengthening of international cooperation, which act as security mechanisms of cultural policy and cover all areas of culture, as well as to ensure the implementation of reforms required to bring the mentioned areas of domestic and foreign state cultural policy to world standards. Among the elements that form a nation, cultural unity and integrity are the most important. The national culture of a nation is a set of common values formed by the ancestral heritage, material existence, greatness of faith and morality, richness of language and art and traditions that emanate from its national history. In order for a nation to exist and to accept its existence for the nations of the world, it is necessary to study cultural values in the light of science and to live and develop them consciously [6, p. 36-37].

44 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

In order to be a developed nation today, it is necessary to be advanced and strengthened in science, technique, economics and technology. The importance of culture and art in the life of nations in the field of economics and technology is clearly seen in the economic and technical spheres and in developed societies. Various efforts are being made and various measures are being taken in these societies to preserve, research and evaluate the national culture. Principles of our national culture depend on material and spiritual and cultural values, activities and structures such as family, school, national language, national history, ethnography, folklore, fine art, art, theater, opera, libraries, geography and economy, humanity and modern culture, worldview, patriotism, ancient Azerbaijani works and museums, publication, propaganda and agitation. In order to maintain and develop the cultural life of a nation, there is a need for a general cultural policy with clearly defined boundaries and realistic opportunities. “It is necessary for our nation, which is in a state of transition from the concept of closed, mystical and scholastic culture of the East to the concept of the West based on the domination of the mind, to cover three features of a national cultural policy: 1. To awaken and to keep the consciousness of national culture awake. 2. To protect, keep alive, promote and love works of cultural value. 3. To promote creativity in culture by using all means and methods” [6, p. 39]. If we summarize, cultural policy must be developed in three directions: “National cultural consciousness and opportunity must always be kept alive; Our cultural works must be preserved, researched and explained to the world and to ourselves in the broadest sense; The cultural creativity of our nation must be systematically promoted” [6, p. 40]. The National Culture Private Specialization Commission, which defined the main goals of the national cultural policy of the Republic of Turkey, focused on the goals and basic principles of national cultural policy at the beginning of the work on national cultural planning and came to the appropriate conclusion on the following grounds: “There must be a accordance between the main goal of the national cultural policy and the national goal of Turkey. As it is known, Turkey’s national goal is to achieve and maintain stability in the country and peace abroad, to protect national unity, integrity and the rights and freedoms of Turkish citizens in a world order based on independence, freedom, justice and equality, to raise the Turkish people to the level of modern culture by developing living conditions in a democratic order and in accordance with

45 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры the principles of social justice. For this, the young generation must be brought up physically and mentally healthy, patriotic, aiming to uplift our nation and believing in democracy and with a mentality of national ideals. Because of this, Turkish culture and art must be valued, researched and the whole society must benefit from this culture and recognize it” [4, p. 26]. Similarly, as shown in this example, which is in line with Azerbaijan’s national cultural policy, cultural policy must be shaped in accordance with the defined national policy goals and acquire a corresponding essence. In this sense, it should not be overlooked that language is the greatest and most important element of culture. Language is the first and basic element of culture, as well as the main carrier and treasure of other cultural elements. In this sense, the nation means, first of all, unity of language [4, p. 27-28]. Preservation of a language is possible only through its transmission to future generations. A language that is not passed on to future generations is a dead language. The main way of language transmission is national upbringing and education. The Azerbaijani language must be taught to new generations within its structure and with all its richness. To do this, all textbooks must be written in a living, natural and rich Azerbaijani language, teachers must be provided with Azerbaijani language, textbooks must include classic texts and attention should be paid to accessing additional support from a separate technical center and tools to selected literary works, to support education. In general, the areas to be focused on cultural policy for the protection and development of our national culture can be classified as following: Culture and literature; Culture and Azerbaijani music; Culture, Azerbaijani architecture and spatial regulation; Culture and Azerbaijani spectacle arts; Culture and Azerbaijani art; Culture and folklore; Culture and mass media; Protection and propaganda institutions of culture; Culture and foreign relations of Azerbaijan (affirmation and protection of elements of Azerbaijani culture, within the country – abroad; Promotion and dissemination of national culture abroad); Culture and history; Social research and cultural changes; Culture, religion and morality [4, p.32-39]. The 20th century has left indelible marks on the life of the Azerbaijani people. In fact, a new Azerbaijan has been formed at the crossroads of centuries and millennia. The historical destiny of our people has created such an opportunity that Azerbaijan has rapidly broken away from the old world and has taken the path of science, culture, health, education, socio-political renaissance in the last century. Today, every Azerbaijani can be proud that our

46 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) ancestors put an end to mass illiteracy in a very short time and our homeland has become a land of literate people who can read and write. Thanks to the civic activity of our patriotic and fanatical intellectuals, the first theater, the first opera, the first cinema, etc. appeared in Azerbaijan in the East. Mass literacy, the pursuit of science, culture and education have changed the morale, lifestyle and appearance of the Azerbaijani people and brought them into the developing world. The establishment of a democratic, independent Azerbaijani state has been both an economic and a moral victory for our people. Today, the education, culture, in general, all spheres of economic, social, cultural, spiritual and political life of Azerbaijan are at a level that fully meets world civilization. A truly fertile ground has been laid for our culture, which has been filtered for millennia, to be reunited with universal values based on native sources in the last 20 years since the independence we gained after 70 years of separation. As the process of returning to the ancestral roots, self-realization of our nation, assimilation of the rules of coexistence of our people and state by civilized humanity intensifies, the celebration of the universal culture of the Azerbaijani people becomes more pronounced. The achievements of our cultural workers during the twenty years of our independence, as well as our cultural life as a whole, give grounds to say that the 20th century has really entered history with the triumph of our culture. Of course, one of the important factors for the establishment of an independent state and its further strengthening and development is the bringing up of a comprehensive, educated, cultural personality. Because, the comprehensive development of the individual, his role among people in society, his position forms his worldview, political, cultural, moral and spiritual, artistic and aesthetic development is relevant in modern conditions, in the years of independence as at all times. At present, the problem of personality development is being studied in many aspects and sociological research is being carried out. Works, monographs, dissertations are written and other works are carried out. In general, independence is becoming an important issue that concerns all people as an important part of our lives [2, p. 5]. Conclusion. Today, Azerbaijani culture is experiencing a more glorious period thanks to the traditions, care and attention of its great leader President Heydar Aliyev and by nourishing from national and spiritual sources. Events dedicated to the celebration of our historical personalities, prominent

47 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры representatives of our national culture, also some national holidays and historical days are held by decrees and orders signed by President Ilham Aliyev. According to these documents, new streets and squares are being built, museums are being opened, various publications are being published, our artists are being awarded the highest awards of our country, their special place and role in the development of our culture is being reaffirmed. All this confirms once again that the Azerbaijani people, who have its ancient history and culture, have taken very successful steps in the development of culture, as well as in other areas, to take their rightful place in the world community after regaining independence and are determined to become one of the most civilized nations in the world in the first decades of the 21st century.

REFERENCES 1. Abbasov N. Mədəniyyət siyasəti və mənəvi dəyərlər. – Bakı, 2009. 2. Kəngərli Sübhi. Müstəqillik, mədəniyyət müəssisələri və şəxsiyyətin inkişafı. // Mədəni-maarif, Bakı, 2006, № 5, s. 5. 3. Mədəni irsin qorunmasına dair normativ hüquqi aktlar toplusu. – Bakı, 2001. 4. Milli kültür. V. Beş yıllıq kalkınma planı (Özəl ihtisas komissionu raporu). - Ankara, 1983. 5. Мамедов Ф.Т. Культурология как путь к эффективной жизнедеятель- ности. – Баку, 2006. 6. Türk milli kültürü (hazırlayanlar: İsmayıl kayabalı, Cemender Arslanoğlu). “Azerbaycan” aylıq kültür dərgisi – Ankara, 1981. 7. http://mct.gov.az/medias/media/other/289/konsepsiya.pdf

Gülçin Kazımi (Azərbaijan) DÖVLƏT MƏDƏNI SIYASƏTININ KONTEKSTINDƏ MILLI MƏDƏNIYYƏTIN TƏBLIĞI VƏ INKIŞAFI Milləti meydana gətirən ünsürlər içərisində mədəniyyət birliyi və bütünlüyü önəmli yer tutur. Məqalədə mədəniyyət siyasətinin istiqamətləri göstərilməklə uğurlu inkişafın cizgiləri müəyyənləşdirilir. “Milli mədəniyyət şüuru və imkanı daima canlı tutulmalıdır; Mədəniyyət əsərlərimiz ən geniş anlamıyla qorunmalı, tədqiq edilməli, dünyaya və özümüzə anladılmalıdır; Millətimizin mədəniyyət yaradıcılığı sistemli olaraq təşviq edilməlidir”. Hər bir millətin milli mədəniyyəti, onun milli tarixindən qopub gələn bir ata mirası, maddi varlığının, inanc və əxlaq ucalığının, dil və sənət zəngin­ ­

48 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) liyinin, ənənələrinin əmələ gətirdiyi ortaq bir dəyərlər məcmusudur. Bir mil­ lə­tin var ola bilməsi, dünya millətlərinə varlığını qəbul etdirə bilməsi üçün, elm işığı altında mədəniyyət dəyərlərini incələməsi, şüurlu olaraq yaşadıb in­kişaf etdirməsi zəruridir. Bu baxımdan mədəniyyət həyatını yaşatmaq və inkişaf etdirmək üçün hü­ dudları aydın cızılmış, imkanları gerçəkliklə hesablanmış bir ümumi mədə­ ­ niy­yət siyasətinə ehtiyac vardır. Açar sözlər: mədəni siyasət, mədəni dəyərlər, müstəqillik, demokratiya, inteqrasiya.

Гюльчин Казыми (Азербайджан) ПРОДВИЖЕНИЕ И РАЗВИТИЕ НАЦИОНАЛЬНОЙ КУЛЬТУРЫ В КОНТЕКСТЕ ГОСУДАРСТВЕННОЙ КУЛЬТУРНОЙ ПОЛИТИКИ Культурное единство и целостность играют важную роль среди эле- ментов, составляющих нацию. В статье определены направления успеш- ного развития, показаны направления культурной политики. «Националь- ное культурное самосознание и возможности должны всегда сохраняться; наши культурные произведения должны быть защищены, исследованы и объяснены миру и нам самим в самом широком смысле; Необходимо си- стематически поощрять культурное творчество нашей нации». Национальная культура нации - это совокупность общих ценностей, сформированных наследием предков, материальным существованием, величием веры и нравственности, богатством языка и искусства, а так- же традициями, вытекающими из национальной истории. Для того, чтобы нация существовала и нации мира признали ее существование, ей необходимо изучать культурные ценности в свете науки, а также жить и развивать их сознательно. Для того, чтобы нация существовала и признала свое существование для народов мира, необходимо изучать культурные ценности в свете науки, а также жить и развивать их со- знательно. С этой точки зрения существует потребность в общей культурной по- литике с четко определенными границами и реальными возможностями для выживания и развития культурной жизни. Ключевые слова: культурная политика, культурные ценности, независимость, демократия, интеграция.

49 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

UOT 008.316.34/35:316.7

Nurlana KERIMLI Institute of Arhitecture and Art of ANAS (Azerbaijan) [email protected]

REPRESENTATION OF WOMAN CHARACTERS IN TURKIC CULTURE

Abstract. In this article, the author talks about the rich and unique culture of Turkic women. On the example of Turkic peoples, the images of women are studied in artistic culture, where female characters are traced in the spotlight. As we see, from ancient times, Turkic women took an active part in the processes of managing society, culture, science and art. And also the article describes the current state, obstacles, problems and opportunities of Turkic women in folk art. Key words: Turkic peoples, woman, cultural heritage, art culture, folk art.

Introduction. The culture of the Turkic peoples and their way of life is one of the conceptual issues underlying culturological investigations. Historical realities are such that the artistic heritage of the Turkic peoples has left an indelible mark on early civilizations. As one of the most ancient nations in the history of the world, the Turkic peoples, whose history is more than four thousand years old, were engaged in agriculture and cattle breeding. For the development of cattle breeding, they were forced to lead a nomadic lifestyle. This objective factor prevented the Turks from leading a semi-nomadic lifestyle. Today, the study of the artistic heritage of the cultural position of the nomadic Turks in society has become a tradition. The prevailing opinion is that the warrior is the central figure in a nomadic society, and this in itself sounds perfectly logical. This is evidenced by the information available in a large number of historical sources and cultural monuments involved in scientific circulation. Archaeological, ethnographic and other sources show that researchers come across interesting facts about the artistic thinking of the Turkic peoples. For example, materials obtained in recent decades provide an interesting and objective look at the high status of women in society. As a result of the study of a number of monuments of the Scythian-Sarmatian

50 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) period, the graves of prominent women holding a high place in society were discovered in the burials. Scientific analysis shows that these women did not do household at all [1]. According to the researchers, excavations in various parts of Central Asia show that women’s graves are richer than male ones. It should be noted that despite the abundance of sources, for example, the Turkic- speaking peoples of Central Asia have the most ancient cultural history. The interpretation of the main material. Each nation has its own woman stereotype in the national culture. However, the role of a woman is identified with such concepts as the protection of the hearth, a wise adviser and fertility in almost every culture. Nomads have always treated women with love and respect since ancient times. Women have always worked side by side with men. The perception of the world by a nomadic woman is determined not only by the conditions of her existence, but also by her self-awareness. It should be noted that researchers prefer to study the heritage of women and the women’s position in the settled and semi-settled Muslim peoples of Central Asia in order to obtain comparative material on the legal status of women with the traditional culture of Muslim nations. The culture of these peoples, their way of life and cultural thinking are to a greater extent based on the norms of Sharia and to a lesser extent determined by individual provisions of customary law. However, a Turkic woman does not follow blindly the principles of Sharia, she is guided by the moral principles of Islam, thereby further purifying her morality, which enriches her cultural thinking as a whole with new qualities. We can say that the Turks, Turkic women felt the beauty of nature, the masters of words paid great attention to the description of the artistic character of a woman through raising it to the level of the phenomenon of cultural life since ancient times. The character of a woman is expressed in various artistic forms. One of the most important indicators of improving morality and artistic-aesthetic thinking of the Turkic people are examples of ancient artistic thought in the form of anthropomorphic plastic in terms of a woman’s character. It should be noted that antromorphic plastic was a very important event in the full study of the spiritual culture of the world’s peoples. Lifestyle changes created a new attitude towards nature of ancient people and created a new attitude towards nature. Ancient man began gradually to believe in small magical rituals. The embodiment of nature begins to form, which finds its embodiment in the souls of various natures, earth and sky. However, a more mysterious cultural event of the Neolithic era was anthropomorphous plastics of various shapes.

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There is no single point of view on the occurrence of this phenomenon in plastic form. Longstanding scientific debates continued to find out the true reasons for the appearance of symbols and patterns, crosses, swastikas, etc. Samples of anthropomorphic plastics were found in various regions, including Azerbaijan and mythological symbols found in a number of regions represent the character of woman stone plastic. There are the most attractive, great ancestorial stone sculptures among them [3]. Besides the character of a mother-woman, the character of a warrior woman is also shown in the foreground. The name of the warrior woman is mentioned high in the immortal work “Oguzname” (8th century). The character of an ancient Turkic woman leading a many-sided lifestyle, standing in the same way with a man is revived in the epos “Dede Gorgud”. The equal status of husband and wife was considered normal in medieval Turkic society. Historical facts give reason to affirm that women’s issue is as old as our history. Women are described with great respect in folklore, which is a product of the artistic thinking and mythological consciousness of the Turkic people. The character of a woman is glorified in various artistic forms. One of the most important indicators of improving the spirituality and artistic-aesthetic thinking of the Turkic people are examples of art developed in the form of anthropomorphic plastics in context of the character of a woman in ancient national artistic thought. As we noted that one of the most important parts of spiritual culture is artistic culture, which serves to form the inner world of a person, contributes to the development of the personality as a creator of cultural values along with cognitive, religious, moral, economic and political cultures. Artistic culture plays an exceptional role in the discovery of the second nature of human. One of the most important cognitive mechanisms that are the core of the content of fiction is fiction. We find an artistic description of the character of a Turkic woman, first of all, in literature, which is an integral part of artistic culture. As if the character of a Slavic girl that was created in the poem “Seven Beauties” by the great Azerbaijani poet Nizami Ganjavi was a spiritual embodiment. The strength of our artistic culture is the fact that Nizami Ganjavi created a human resemblance to our literature between Shirin and “Kipchak gizi”. The genius poet treated women as a symbol of dignity. The characters of women created by him are brilliant personalities with equal rights to brave men. Just as the artist used the best colors of his artistic palette to create a work of art, Nizami did not regret to give the character the bright peculiarities of his spirituality

52 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) when creating the character of a woman. It would not be an exaggeration to say that neither the written monuments of the Orient, nor the West have such a woman character found in the history of artistic thought with psychological depth. Artistic culture is a system of material and spiritual values created and accumulated by historical subjects over the many centuries. From this point of view, the historical memory of our people has played an important role in the life of our country, in strengthening statehood and has shown the character of many women who have shown determination to improve the cultural life of their country. A review of the history of the nomadic way of life of the Azerbaijani Turks in the past shows that our ancestors engaged both in agriculture and cattle breeding, they were both ordinary people and brave warriors. But in all cases, the blood of a warrior flows in the veins of a Turk. P.P. Zutov writes about this: “Although the Tatars (Azerbaijani Turks-the author) are engaged in peaceful work as citizens and farmers, they are much more capable of fighting and grazing cattle. For this reason, most of them lead a nomadic lifestyle, following their ancestors who lived in the endless steppes along the Volga, Don and Ural rivers” [6]. It is known that most of the Azerbaijani Turks are the predecessors of the Oghuz and Kipchak tribes. As you know, the mentioned tribes were nomads. I. Balaramberg provides interesting information about the reasons of the nomadic life of the Azerbaijani Turks in his work, which provides a historical, topographic, statistical and military description of the Caucasus. For example, this shows that the nomads living at the foot of the two plains of the Caucasus led a nomadic life for many centuries. Speaking about the role of religion in the development of the spiritual world of a woman and her worldview in different historical periods, it is impossible not to touch upon the problem of women in Islam. However, since this is a very broad topic, we will only briefly touch on the issue of love and women in Sufism. It is known that a new civilization-Islamic culture began to form since the establishment of Islam in a religious society in the history of mankind, which had a strong influence on the development of cultural values in the world over time. The sages spreading Sufism instill in the followers of Islam such an elevated truth: love manifests itself through beauty. Beauty is one of the attributes of Allah. Beauty always reminds a person of the Almighty in everything that exists in the world. Ibn Arabi, the founder of Sufi pantheism and one of the most prominent representatives of Arab artistic thought, writes: “There is no need to try to see God in any material form. The appearance of the Almighty in a woman is the most perfect character”.

53 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Secular love is almost always “in form” and pantheistic in content in the Orient. Preparing the heart for love and achieving love is a reality in Sufism. The idea of a higher love is more clearly visible in classical oriental literature. This is reflected in Nizami’s poems “Leyli and Majnun” and Jami “Yusif and Zuleikha” [2]. Numerous reviews of these works, which are pearls of artistic culture, are associated with the excellent artistic solution to the issue of love and women. When the Sufi masters asked Bayazid Bastamiya who his protector was, he replied: an old woman I met in the desert. Some Western ideologues who intend to “enslave traditional Islamic women” can learn from this. The great Sufi master Zun wondered. Who is the tallest among Sufis in society? Answer: “There is a woman in Mecca named Fatima Nisapari... She is one of the saints of the Almighty, she is my teacher” [5]. Conclusion. The character of a woman is shown as an example of purity in the Avesta, in Zoroastrianism. Women are considered equal to men in Zoroastrianism. The end of the Middle Ages and the beginning of a new era is a period of revival in the artistic thought of the Azerbaijani people. It was the rich culture, which emerged during the Renaissance, that formed the fundamental cultural system and a new attitude emerged towards women. The study is devoted to the investigation of the miniature school in Tabriz, it is said that the oriental miniature art experienced its highest stage of development in the Tabriz school during 1530–1540. The characters of women play an important role in the work of this school. Nizami Ganjavi “Characters in Khamsa were an important source of inspiration as creators of miniature art”. Nizami’s manuscript from “Khamsa” was decorated with miniatures by several artists. The scene of Alexander the Great’s meeting with Nushaba is interesting among the interesting plots [4]. So, the created woman characters in the history of Turkic culture refute the idea that woman creativity is the second kind of art. The importance and relevance of the women’s contribution to world culture and art are no less important than the men’s contribution.

REFERENCES 1. Емохонова Л.Г. Мировая художественная культура. – М., 2012. 2. Керимли Н.И. Этапы развития художественной культуры Азер­байд­ жана: эволюция женского образа. Художественная культура и ли­ те­ратура тюркских народов в контексте Запад-Восток. Материалы международной конференции. – Казань, 2017.

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3. Керимли В.Г. Элементы духовной культуры кавказских тюрок как не­отъемлемая часть мировой художественной культуры. Историко- куль­турное наследие народов Урало-Поволжья. Удмуртский Фе­де­ раль­ный Исследовательский Центр УРО РАН. – Ижевск, № 1 (8), 2020. 4. Кули-заде. З.А. Гендер в Азербайджане. – Б., 2003. 5. Назирова С. Образы прародительницы //Азербайджанские известия, 2011, апрель, с.3. 6. Усманова А. Женщина и искусство: политики репрезентации. Теория и методология гендерных исследований. Курс лекций. – М., 2001.

Nurlanə Kərimli (Azərbaycan) TÜRK MƏDƏNIYYƏTINDƏ QADIN OBRAZININ TƏQDIMATI Müəllif bu məqalədə türk qadınlarının zəngin və misilsiz mədəniyyətindən bəhs edir. Türk xalqlarının timsalında bədii mədəniyyətdəki qadın obrazları öyrənilir, burada qadın xarakterlərinə diqqət yetirilir. Gördüyünüz kimi, qədim zamanlardan türk qadınları cəmiyyəti, mədəniyyəti, elmi və sənəti idarə etmə proseslərində fəal iştirak edirdilər. Məqalədə türk qadınlarının xalq sənətindəki mövcud vəziyyəti, maneələri, problemləri və imkanlarının təsviri də verilmişdir. Açar sözlər: Türk xalqları, qadın, mədəni irs, bədii mədəniyyət, xalq sənəti

Нурлана Керимли (Азербайджан) РЕПРЕЗЕНТАЦИЯ ЖЕНСКИХ ОБРАЗОВ В ТЮРКСКОЙ КУЛЬТУРЕ В данной статье говорится о богатой и уникальной культуре тюрк- ских женщин. На примере тюркских народов изучены образы женщин в художественной культуре, где в центре внимания прослеживаются жен- ские персонажи. Как видим, с древнейших времен тюркские женщины принимали активное участие в процессах управлении общества, куль- туры, науки и искусства. А также в статье дается описание текущего состояния, препятствий, проблем и возможностей тюркских женщин в народном искусстве. Ключевые слова: Тюркские народы, женщина, культурное наследие, художественная культура, народное искусство

55 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

UOT 792.05

Elnura Asadova Baku Academy of Choreography (Azerbaijan) [email protected]

PATRIOTISM AND HUMANISM IN THE DRAMA “FARHAD AND SHIRIN”

Abstract. The article analyzes the director’s thinking and the features of acting in the structure of the drama “Farhad and Shirin”, the first performance of S. Vurgun, which took place at the State Academic Drama Theater shortly after the beginning of the Great Patriotic War. The patriotic pathos of the work was interpreted in the spirit of the Great Patriotic War, which was in line with the requirements of the time. The play “Farhad and Shirin” was written by S. Vurgun not in connection with the war, but in connection with the anniversary of Nizami. The author, who previously dedicated a play to the memory of another poet, Vagif, now wanted to present Nizami’s legacy in a modern way. The plot of the play was about the war. The high human ideals of his protagonists were the deep patriotic feelings that manifested themselves in the leitmotif of this play. In the days when the whole country was defending the homeland, it made it very relevant and required. “Farhad and Shirin” became one of the best achievements of A. Isgandarov’s directorial method. In many cases, this was possible due to the brilliant performance of the cast. Key words: Adil Isgandarov, Samed Vurgun, the art of directing, the drama “Farhad and Shirin”, Great Patriotic War.

Introduction. On June 22, 1941, Nazi Germany treacherously invaded the USSR without declaring war. The Nazis planned with the help of a large force to destroy the Soviet state in three or four months and make “Lightning fast war” at the same time. With the outbreak of the war, the peaceful life of the country was completely changed and established in order to meet the demands and needs of the military era. All departments and institutions, including cultural institutions – theatres, clubs, houses of culture – began

56 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) to build their activities in an appropriate manner during the war. In those exciting days, S. Vurgun wrote his famous poems: Let the motherland know, let the homeland hear, I am an armed soldier since today. Many Azerbaijani cultural figures – writers, actors, artists, composers - went to the War, many of them did not come back. The interpretation of the main material. At that time, A.Isgandarov tried to rebuild the theater’s repertoire in accordance with the requirements of the war. “ The theater presented to the audience Konstantin Simonov’s play “Our City boy” about the war translated by Avaz Sadig under the name “Vatan oglu” (September 27, 1941). The play was directed by Saftar Turabov, design artists Nusrat Fatullayev and Asgar Abbasov, and costume designer Susanna Samorodova. The heroic spirit and the idea of patriotism were brought to the fore in the play, and the actors tried to embody the essence of the main idea in their performances” [6, p. 19]. If we look at the repertoire of the Azerbaijan State Drama Theater during the war, we can see that the performances are divided into three groups in terms of theme and content. The first of these are plays written by newly involved writers and playwrights on the subject of war. Such performances include Mammadhuseyn Tahmasib’s “Lion’s Bed” (directed by A. Sharifov), Rasul Rza’s “Vafa” (directed by A. Isgandarov), Zeynal Khalil’s “Revenge” (directed by S. Turabov; all three performances 1942) and some others. These works were written directly on the theme of war, if it is possible to say so, by order of war and embodied the courage of brave Azerbaijani warriors (sometimes girls) on the front. Of course, the inclusion of these newly written works in the repertoire was due to the requirements of the time and reflected the policy of the state in this area. Many young poets and writers (for example, Rasul Reza) entered the theater on the theme of war. The second group was again on the subject of war and represented the stage embodiment of translated plays by Soviet writers, mostly Russian playwrights. Such performances include K. Simonov’s “Our City Boy” as we mentioned above (S. Turabov, 1941), V. Rock’s “Engineer Sergeyev” (S. Turabov, 1942) and others. As for the third group, it consisted of stage embodiment of plays written before the war as part of the 800th anniversary of the great Azerbaijani poet Nizami Ganjavi. As is known, the 800th anniversary of Nizami coincided

57 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры with 1941. However, with the beginning of the war, the anniversary events were postponed, and the poet’s anniversary was celebrated with great solemnity in 1946–47. Preparations for the anniversary have begun a few years ago in the second half of the 1930s. At that time, the young sculptor F. Abdurahmanov had prepared preliminary sketches of the poet’s statue. In 1940, the portrait of Nizami, worked by the talented artist G. Khalikov, was approved by a specially created art commission. Other artists also created paintings on the theme of Nizami, drawing illustrations on Nizami’s works published in publishing houses. There was a lot of work in the field of literature. Writers and poets wrote novels, stories and plays dedicated to Nizami and his time. MS Ordubadi’s novel “Sword and Pen” dedicated to Nizami was evaluated as a capacious work on this topic. S. Vurgun, who has already written two plays for the stage (“Vagif” and “Khanlar”), also decided to address the topic of Nizami. His play “Farhad and Shirin” was staged in 1941. M. Huseyn’s drama “Nizami” was also dedicated to this theme. In 1941-42, the repertoire of the Azerbaijan State Drama Theater consisted almost entirely of performances belonging to these three groups. Interestingly, the national-patriotic theme of the war on the stage mainly covered the first period of the war – 1941–42. If we look at the archive materials, we can see that in 1943 and in subsequent years, the military-patriotic theme gradually lost its relevance. Though, at that time the war was still going on. In 1941-42, the warriors and the society, which gained experience in the face of the strong blows of the Nazis and survived the most difficult stages of the war, seemed to have a sense of resilience, endurance and immunity. People were used to war, they were not afraid anymore. The panic of the first days had subsided, and the military theme had lost its sharpness. There was a turning point in the war, and now people were not interested in the fate of the country, but in when the war would end in victory. Of course, the newly created works of young Azerbaijani writers and poets (at that time S.Vurgun, S.Rustam, R.Rza, A.Mammadkhanli, M.Ibrahimov and others were not yet 40 years old) were of greater importance in the development of the national theatrical art than the translated works. These works enriched the national literature and theatrical repertoire, as well as the director’s interpretation and acting [4, p. 47].

58 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

The play “Farhad and Shirin” written by S.Vurgun on the theme of Nizami’s creativity in 1941 was embodied on the stage. Written in a tragic style, this play echoed the times and reflected the ideas of national patriotism, freedom and humanism [2, p. 214]. S.Vurgun wanted to tune Nizami’s creativity to modern times, to elevate “Farhad and Shirin” to “Leyli and Majnun”s greatness. For this reason, he refused to raise the image of the ruler of Iran to the level of the protagonist, gave preference to a simple son of the people – mountaineer Farhad, and together with Shirin raised him to the level of the protagonist of his work. The director-in-chief, who always paid close attention to S.Vurgun’s work, again undertook directing, as in the previous two works. He did not want to “share” with anyone a talented, poet holding an order like S. Vurgun. It is interesting that the plot of “Farhad and Shirin” was written in a poem form 1484 by the Uzbek poet A. Navai. In 1910, Mirza Jalal Yusifzade and Alexander Oganezashvili created an opera of the same name. Of course, there are serious differences between opera style and drama style of performance. Traditionally, A. Isgandarov invited the shining star of the theater - A. Alakbarov to the leading role. Prior to that, he twice starred as a main role in S. Vurgun’s plays. Besides him, R. Afganli also prepared for the role of Farhad. However, 42-year-old R. Afghanli was clearly involved to the role as a “reserve” option. A. Isgandarov, fearing the harsh character of A. Alakbarov, prepared R. Afganli for the role of Farhad in order not to suddenly spoil the performance. It was also formally in line with the principles of role- playing and the preparation of the play. Of course, there are parallels between Farhad and Majnun. Also, for the first time, thanks to S. Vurgun, these parallels were able to show themselves in a convex and a prominent way, from a poetic point of view. Because in the opera of the same name, created in 1910, such a parallel did not exist at all. It is true that this opera was written under the influence of U.Hajibeyli’s opera “Leyli and Majnun”, but it was far from the embodiment of high humanist ideas. There is no doubt that it was S. Vurgun who raised Farhad to the level of Majnun for the first time. At the same time, the poet expressed the feelings of patriotism that were especially relevant at that time in 1941. “If Nizami Firdovsi changed his chivalry and heroism in” Shahnameh “with the theme of love, and dedicated his poem” Khosrov and Shirin “to pure love, sublime love,

59 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Samad Vurgun turned the issue of love and affection to the theme of patriotism” [1, p. 344]. It is clear that Majnun’s opera interpretation and Farhad’s dramatic interpretation were performed by actors in different styles. This is due not only to the individual stylistic features of the actor, but also to the professional differences of the stage work in different genres. Even the difference in genre in this case has a greater impact than the individual style of the actor. Since vocal performance is superior in the opera genre, gestures are mainly based on it. In drama, however, it is used in a completely different way. Of course, A.Alakbarov took all this into account in his own performance. He understood the humanistic content of his role combined with the patriotic line, but did not try to coordinate it with Majnun’s performance on the opera stage (Khanlar Hagverdiyev, Alovsat Sadigov, Shirzad Huseynov, etc.). First of all, Farhad was not Majnun anyway, and secondly, even the role of Farhad in the opera “Farhad and Shirin” did not coincide with Farhad in the drama. Probably, it is necessary to add the personal thoughts and, to be more precise, the ambitions of the director and the actor. Also, S. Vurgun, who took part in the rehearsals, undoubtedly wanted to see Farhad in a different way, more like Vagif. In any case, “Farhad and Shirin” was assessed as a new artistic achievement in the structure of A. Isgandarov. S.Vurgun’s ideas of national-patriotism and humanism gained a completely new meaning in the direction of A.Isgandarov and in the leading role of A.Alakbarov and entered the history of national theater as an artistic success. Although these words may seem shallow, they have been confirmed by other authors: “Adil Isgandarov entered another bright stage of his directorial activity with the play” Farhad and Shirin” [6, p. 20]. Of course, other participants also played an important role in the success of the play. First of all, the role of Shirin should be noted. A. Isgandarov all again entrusted this role to Marziya Davudova. We use the phrase “again” because a year ago, the director gave the role of Gultekin, a young woman in Jabbarli’s play “Aydin”, to M. Davudova. Of course, there could be no doubt about Davudova’s talent, but the age factor must be taken into account in the choice of actors to revive the image. M.Davudova performed Gultekin at the age of 39 and Shirin at the age of 40. However, Farhad – A.Alakbarov was only 31 years old at that time. A. Isgandarov tries to eliminate this discrepancy on the stage by two means -

60 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) strong acting and makeup, and for the sake of justice, it should be said that he often achieved this. Of course, Shirin is not a young girl, she is a certain age, she is also a ruler. However, it is difficult to understand why he fell in love at the age of 40 and sacrificed himself for love. However, criticism of the play was much. In any case, critics who watched those performances live (for example, Mehdi Hussein) praised the play, calling it another success of Isgandarov’s theatrical aesthetics. During the most difficult period of the war – November 16, 1941, M. Hussein gave a review in the “Communist” newspaper and praised the play [3, p. 4]. Fatma Qadri, the second performer of the Shirin role, was more suitable for the role and had a more effective impact on stage. A. Isgandarov gave the role of Shapur to the actor he considered successful - S. Ruhulla. S.Ruhulla was 24 years older than Alakbarov. Because of that, we bring this to your attention that Shapur and Farhad are peers in the play written by S. Vurgun, once study together. The artist even recalls that he, Shapur and Farhad studied art together and their favorite teacher, who taught them the secrets of art: “He gave me the pen and the knife for him.” However, on the stage, this idea did not seem very convincing in the relationship between two actors of different generations. Probably, A. Isgandarov still hoped to resolve the discrepancy through strong acting and makeup. Of course, it was difficult to give up on an actor like S. Ruhulla. Moreover, there was a factor of S. Vurgun, S.Ruhulla had previously played Gajar, who did not lag behind in the lead role in “Vagif”, and this performance was welcomed. “Vagif” did not lose its popularity both then and later [5, p. 20]. Even today, when Gajar is mentioned, Azerbaijan imagines him in the image of Sidgi, and this seems to happen spontaneously, involuntarily (years later, F. Poladov successfully introduced Gajar in a different context). Thus, S.Ruhulla justified himself in the role of Shapur and contributed to the success of the play. The role of Khosrov in the work is also interesting. This can be figuratively likened to the image of Ibn Salam in Leyli and Majnun. Khosrow is a great ruler, but he seems powerless to win Shirin’s heart. This is his moral weakness from Farhad. Although Khosrov is a shah, he is not a memorable image – images such as Farhad, Shirin, Shapur, Maryam, Shiruya give a brighter, more figurative impression. At the same time, this image is the image of a ruler, but also an image that enters into a dialogue with Farhad and Shirin, gives orders and makes decisions. A. Isgandarov

61 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры wanted to give this image in such a way that he could be “seen” and “not seen” on the stage. By this “simple” means, his dominion could be put in the background. But it required a successful performer. A.Isgandarov found those performers in the person of A.Garaybeyli and A.Sultanov. Both of them, especially A.Garaybeyli, skillfully embodied Khosrov’s character, his insincere attitude towards Farhad and his “melting” on the stage. The dialogue between Farhad and Khosrov, one of the dramatic moments of the play, was revived at a high artistic level on the line A.Alakbarov-A. Garaybeyli. In a sense, this can be compared to Vagif’s dialogue with Gajar. Undoubtedly, the dramatic line acquires its highest artistic embodiment thanks to the successful performance of the actor. The play “Farhad and Shirin” was written by S. Vurgun not in connection with the war, but in connection with the anniversary of Nizami. The author, who previously dedicated a play to the memory of another poet, Vagif, now wanted to present Nizami’s legacy in a modern way. The start of the war and the postponement of the anniversary events did not prevent the staging of “Farhad and Shirin” in 1941, as well as during the most difficult period (during the German invasion of Moscow). The patriotic pathos of the work was interpreted in the spirit of the Great Patriotic War, which was in line with the requirements of the time. It should also be noted that S. Vurgun wanted to tune Nizami’s work to modern times, to elevate “Farhad and Shirin” to “Leyli and Majnun”s greatness. For this reason, he refused to raise the image of the ruler of Iran to the level of the protagonist, gave preference to a simple son of the people - mountaineer Farhad, and together with Shirin raised him to the level of the protagonist of his work. The director-in-chief, who always paid close attention to S.Vurgun’s work, again undertook directing, as in the previous two works. He did not want to “share” with anyone a talented, poet holding an order like S. Vurgun. It is interesting that the plot of “Farhad and Shirin” was written in a poem form 1484 by the Uzbek poet A. Navai. In 1910, Mirza Jalal Yusifzade and Alexander Oganezashvili created an opera of the same name. Of course, there are serious differences between opera style and drama style of performance. Traditionally, A. Isgandarov invited the shining star of the theater – A. Alakbarov to the leading role. Prior to that, he twice starred as a main role in S. Vurgun’s plays. Besides him, R. Afganli

62 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) also prepared for the role of Farhad. However, 42-year-old R. Afghanli was clearly involved to the role as a “reserve” option. A. Isgandarov, fearing the harsh character of A. Alakbarov, prepared R. Afganli for the role of Farhad in order not to suddenly spoil the performance. It was also formally in line with the principles of role-playing and the preparation of the play. Of course, there are parallels between Farhad and Majnun. Also, for the first time, thanks to S. Vurgun, these parallels were able to show themselves in a convex and a prominent way, from a poetic point of view. Because in the opera of the same name, created in 1910, such a parallel did not exist at all. It is true that this opera was written under the influence of U.Hajibeyli’s opera “Leyli and Majnun”, but it was far from the embodiment of high humanist ideas. There is no doubt that it was S. Vurgun who raised Farhad to the level of Majnun for the first time. At the same time, the poet expressed the feelings of patriotism that were especially relevant at that time in 1941. “If Nizami Firdovsi changed his chivalry and heroism in” Shahnameh “with the theme of love, and dedicated his poem” Khosrov and Shirin “to pure love, sublime love, Samad Vurgun turned the issue of love and affection to the theme of patriotism” [1, p. 344]. Conclusion. It is clear that Majnun’s opera interpretation and Farhad’s dramatic interpretation were performed by actors in different styles. This is due not only to the individual stylistic features of the actor, but also to the professional differences of the stage work in different genres. Even the difference in genre in this case has a greater impact than the individual style of the actor. Since vocal performance is superior in the opera genre, gestures are mainly based on it. In drama, however, it is used in a completely different way. Of course, A.Alakbarov took all this into account in his own performance. He understood the humanistic content of his role combined with the patriotic line, but did not try to coordinate it with Majnun’s performance on the opera stage (Khanlar Hagverdiyev, Alovsat Sadigov, Shirzad Huseynov, etc.). First of all, Farhad was not Majnun anyway, and secondly, even the role of Farhad in the opera “Farhad and Shirin” did not coincide with Farhad in the drama. Probably, it is necessary to add the personal thoughts and, to be more precise, the ambitions of the director and the actor. Also, S. Vurgun, who took part in the rehearsals, undoubtedly wanted to see Farhad in a different way, more like Vagif. In any case, “Farhad and Shirin” was assessed as a new artistic achievement in the structure of A. Isgandarov. S.Vurgun’s ideas of national-

63 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры patriotism and humanism gained a completely new meaning in the direction of A.Isgandarov and in the leading role of A.Alakbarov and entered the history of national theater as an artistic success. Although these words may seem shallow, they have been confirmed by other authors: “Adil Isgandarov entered another bright stage of his directorial activity with the play “Farhad and Shirin” [6, p. 20].

REFERENCES 1. Begdeli G. Şərq ədəbiyyatında Xosrov və Şirin mövzusu. – Bakı, 1970. 2. Cəfərov C. Azərbaycan teatrı (1873-1973). – Bakı, 1974. 3. Hüseyn M. Fərhad və Şirin // “Kommunist” qəzeti, 16 noyabr, 1941. 4. İsrafilov İ. Adil İsgəndərovun teatrı. – Bakı, 2001. 5. Kərimov İ.S. Azərbaycan Dram teatrı. – Bakı, 1974. 6. Rəhimli İ. Azərbaycan teatrının tarixi. Cild 3. – Bakı, 2017.

Elnurə Əsədova (Azərbaycan) “FƏRHAD VƏ ŞIRIN” DRAM TAMAŞASINDA VƏTƏNPƏRVƏRLIK VƏ HUMANIZM Məqalədə S.Vurğunun ilk tamaşası Dövlət Akademik Dram teatrında Böyük Vətən müharibəsinin başlanmasından bir qədər sonra baş tutan “Fərhad və Şirin” dramının quruluşunda rejissor düşüncəsi və aktyor oyununun xüsusiyyətləri təhlil edilirdi. Əsərdəki vətənpərvərlik pafosu Böyük Vətən müharibəsi ruhunda təfsir edilmişdi ki, bu da həmin dövrün tələblərinə uyğun idi. “Fərhad və Şirin” pyesi S.Vurğun tərəfindən müharibə ilə əlaqədar deyil, Nizami yubileyi ilə əlaqədar olaraq qələmə alınmışdı. Bundan əvvəl başqa bir şairin – Vaqifin xatirəsinə dram əsəri ithaf edən müəllif indi də Nizami irsinə müraciət edərək onu müasirliyə uyğun tərzdə təqdim etmək istəyirdi. Dram əsərinin süjetinin müharibə ilə əlaqədar olmuşdur. Onun baş qəhrəmanlarının yüksək insani idealları, bu səhnə əsərinin leytmotivində özünü aydın büruzə verən dərin vətənpərvərlik hissləri idi. Bütün ölkənin vətənin müdafiəsinə qalxdığı günlərdə onu çox aktual və tələb olunan etmişdi. “Fərhad və Şirin” Ə.İsgəndərovun rejissor metodunun ən yaxşı nailiyyətlərindən birinə çevrildi. Bu da bir çox hallarda aktyor kollektivinin parlaq ifası sayəsində mümkün olmuşdu. Açar sözlər: Ədil İsgəndərov, Səməd Vurğun, rejissor sənəti, “Fərhad və Şirin” dramı, Böyük Vətən müharibəsi.

64 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

Эльнура Асадова (Азербайджан) ПАТРИОТИЗМ И ГУМАНИЗМ В ДРАМЕ «ФАРХАД И ШИРИН» В статье анализируется режиссерское мышление и особенности актерского мастерства в структуре драмы «Фархад и Ширин» – пер- вого спектакля С. Вургуна, который состоялся в Государственном академическом драматическом театре вскоре после начала Великой Отечественной войны. Патриотический пафос произведения был ин- терпретирован в духе Великой Отечественной войны, что соответ- ствовало требованиям того времени. Пьеса «Фархад и Ширин» была написана С. Вургуном не в связи с войной, а в связи с юбилеем Ни- зами. Автор, ранее посвятивший иную пьесу памяти другого поэта- Вагифа, теперь хотел представить наследие Низами в соответствии с современностью. Сюжет спектакля был связан с войной. Высокими человеческими идеалами его главных героев стали глубокие чувства, присущие патриоту, которые проявились в лейтмотиве пьесы. В те времена, когда вся страна встала на защиту Родины, это делало её очень актуальной и востребованной. «Фархад и Ширин» стала од- ним из лучших достижений режиссерского метода А. Искендерова. Во многих случаях это стало возможным благодаря блестящей игре коллектива актеров. Ключевые слова: Адиль Искендеров, Самед Вургун, режиссерское искусство, драма «Фархад и Ширин», Великая Отечественная война.

65 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

UOT 7.031(4/9)

İradə Köçərli sənətşünaslıq üzrə elmlər doktoru, professor AMEA Memarlıq və İncəsənət İnstitutu (Azərbaycan) [email protected]

QAZAXISTANIN BAŞ AKINI – ABAY (Abay Kunanbayev-175)

Xülasə. Abay qazax mədəniyyəti və incəsənəti tarixinə musiqi reforma- toru kimi də daxil olub. O, öz yaradıcılığı ilə qazax xalq mahnısının hüdud- larını genişləndirmiş, ona yeni məzmun, yeni forma gətirmiş, janr sistemini genişləndirmişdir. O, yazdığı mahnılara yeni melo-intonasiya, metr-ritmik, forma və s. xüsusiyyətlər daxil etmişdir: romans janrına xas olan geniş me- lodiyalar, axıcı oxumalar, yeni intonasiyalar, ritmik formullar və s. Eyni za- manda, Abay mahnıların obrazlı-məzmun quruluşuna da yeniliklər gətirərək, onların lirik-psixoloji ovqatını dərinləşdirmiş, yazdığı havalara ciddi-dra- matik elementlər daxil etmiş, təbiət və məhəbbət lirikasını fəlsəfi, humanist, maarifpərvər ideyalarla zənginləşdirmişdir. Bu baxımdan, Abay, öz yaradı- cılığı ilə, qazax mahnısının intonasiya lüğətini genişləndirmiş, qazax milli melosuna özəlliklər daxil etmişdir. Abayın musiqi təhsili, not üzrə bilikləri olmamış, sözlərinə qoşduğu nəğmələri yazıya almamışdır. Abayın indiki dövrədək 60-dan çox mahnısı folklorçular tərəfindən toplanmış və nota salınmışdır. O, özü də həm oxu- mağı və həm də dombrada çalmağı bacarmışdır. Deyilənlərə görə, onun güclü səsi, geniş səs diapazonu da olmamışdır. Lakin ifasının səmimiliyi və dərinliyi, səsinin rəngi ilə, melodiyanın, şeirin poetik gözəlliyinin, sözün hikmətinin ilhamla, hiss və həyəcanla çatdırması ilə çox ürəkləri çırpındıra bilmişdir. Abayın musiqi dili xalq melodikasından doğmuşdur və qazax xalq musiqinə çox yaxındır. Onun yaratdığı mahnılar akın ənənələrinin bədii təcrübəsinə, qazax xalqının mahnı yaradıcılığına xas olan nəqlilik xüsusiyyətlərinə istinad edir. Açar sözlər: Abay, mahnı, küy, dombra, akın.

66 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

Dünyaya qapıları sənin üçün açan nəğmədir, Külünü torpağa kədərlə aparan da nəğmədir, Həyatın sevincinin yol yoldaşı da nəğmədir. Onu içinə çək, dəyər ver, sev.

Giriş. “Sevinc və kədər, həyat və ölüm, gənclik və ahıllıq – bütün bunların hər biri mahnıdır. Mahnı sirlərlə doludur. Mahnı hər şeyə qadirdir. Mahnı – çağı- rır, şənləndirir, təskinlik verir. Mahnısız həyat yoxdur”. Bu müdrik sözlər böyük qazax şairi, filosof, mütəfəkkir, bəstəkar Abay Kunanbayevə məxsusdur. Bu heyranedici kəlamlar musiqini bütün vücudu ilə duyan, ona bu dərəcədə - həyatın özü qədər dəyər, önəm və məna verə bilən, böyük ruh sahibi olan bir insanın rəsmini cızır. Abay, özünün dedi- yi kimi, “içinə çəkərək, sevərək” yaratdığı füsunkar nəğmələri ilə ürəkləri fəth edib, insanları təsirləndirib, qəlbinin ən incə tellərini yerindən oyadıb, könülləri oxşayıb. Artıq neçə illərdir ki, nəsildən-nəslə ötürülərək Qazax xalqının, eləcə də, bütün bəşəriyyətin milli sərvətinə çevrilib. Onu xalqa sevdirən, tanıdan da hikmətli, sözlü-söhbətli şeirləri və mahnıları olub. Abayın yaratdığı nəğmələr qazax elinin ucsuz-bucaqsız çöllərini, qədim türklərin məğrur izlərini, ulu çağların “qeybdən xəbər verən” sirli sədalarını özündə canlandırır. Əsas materialının şərhi. Abayın mahnıları ilk dəfə 1926-cı ildə məşhur musiqişünas N.F.Findeyzenin redaktəsi altında çapdan çıxmış, A.E.Bimboesin tərtib etdiyi “25 qırğız (qazax) mahnısı” [1] toplusuna daxil edilmişdir. Daha sonra rus bəstəkarı və etnoqrafı A.V.Zatayeviç “Qazax xalqının 1000 mahnısı” [2] etnoqrafik toplusuna Abayın daha bir neçə mahnısını salaraq çap etdirmişdir. 1954-cü ildə isə ilk dəfə Qaza- xıstanda B.Q.Yerzakoviçin redaksiyası altında toplu [3] çapdan çıxmış və Abayın yazdığı ən məşhur mahnılar bura daxil edilmişdir. Bu toplu- nun yaranması ilə Abayın musiqi yaradıcılığına maraq artmış, elmi ba- xımdan öyrənilməyə başlanmış və beləliklə də, “Musiqi Abayşünaslığı” elmi istiqamətinin yaranmasına gətirib çıxarmışdır. Abayın mahnıları haqqında çoxlu sayda elmi tədqiqat işləri, məqalə, oçerklər yazılmış və bu araşdırmalar nəticəsində Abayın mahnı yaradıcılığı qazax xalqının mahnıçılıq ənənələrinin zirvəsi olaraq dəyərləndirilmişdir. Abayın bir filosof, mütəfəkkir, şair kimi irəli sürdüyü fikirlər, etik-estetik görüşlər, təbii olaraq onun mahnı yaradıcılığının başlıca qaynağına çevrilmiş və ­qazax musiqisində yeni bir mərhələnin başlanğıcının əsasını qoymuşdur.

67 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

O ­qazax realistik poeziyasının əsasını qoyduğu kimi, uyğun olaraq realis- tik mahnı janrının da banisi hesab olunur. Abayın musiqi təhsili, not üzrə bilikləri olmamışdır. Bu səbəbdən, sözlərinə qoşduğu nəğmələri yazıya almamış və onlar şifahi şəkildə ağızdan- ağıza ötürülmüşdür. Abayın indiki dövrədək 60-dan çox mahnısı folklorçu- lar tərəfindən toplanmış və yazıya alınmışdır. Onların içərisində ayrı-ayrı musiqiçilərin ifasından yazılmış mahnı variantları da vardır. Abay Semey vilayətində doğulmuş, aulda yaşamış, akınlar və xalq nəğməkarları, peşəkar musiqiçilər, küyçülərin yaradıcılığı ilə təmasda bö- yümüşdür, O, xalq yaradıcılığını bütün qəlbi ilə sevmiş, məşhur söz və musiqi sənətkarlarının, ifaçıların yaradıcılığı ilə yaxından tanış olmuş- dur. O, özü də həm oxumağı və həm də dombrada çalmağı bacarmışdır. O, əsasən öz mahnılarını yalnız yaxın çevrəsində - dostlarının, yaxınları- nın və aula gələn peşəkar nəğməkar və akınların əhatəsində ifa etmişdir. Bu səbəbdən, Abay geniş xalq kütlələri arasında bir nəğməkar kimi bir o qədər də populyar olmamışdır. Çünki, bir çox xalq nəğməkarları, akınlar kimi, el-el, oba-oba gəzib-dolaşmamışdır, lakin qoşduğu nəğmələr isə, tez bir zamanda kəndləri, aulları aşmış, şəhərlərə, yaxın vilayətlərə geniş ya- yılaraq yaddaşlara həkk olunmuşdur. Deyilənlərə görə, onun güclü səsi, geniş səs diapazonu da olmamışdır. Lakin ifasının səmimiliyi və dərinliyi, səsinin rəngi ilə, şeirin poetik gözəlliyinin, sözün hikmətinin ilhamla, hiss və həyəcanla, ehtirasla çatdırması ilə çox ürəkləri çırpındıra bilmişdir. Abay qazax musiqi mədəniyyəti tarixinə musiqi reformatoru kimi daxil olub. O, öz yaradıcılığı ilə qazax xalq mahnısının hüdudlarını genişləndirmiş, ona yeni məzmun, yeni forma gətirmiş, janr sistemini genişləndirmişdir. O novator bəstəkar kimi, yazdığı mahnılara yeni melo-intonasiya, metr-ritmik, forma və s. xüsusiyyətlər daxil etmişdir: romans janrına xas olan geniş melodiyalar, axıcı oxumalar, yeni intonasiyalar, ritmik formul- lar və s. Eyni zamanda, Abay mahnıların obrazlı-məzmun quruluşuna da yeniliklər gətirərək, onların lirik-psixoloji ovqatını dərinləşdirmiş, yazdı- ğı havalara ciddi-dramatik elementlər daxil etmiş, təbiət və məhəbbət li- rikasını fəlsəfi, humanist, maarifpərvər ideyalarla zənginləşdirmişdir. Bu baxımdan, Abay öz yaradıcılığı ilə, qazax mahnısının intonasiya lüğətini genişləndirmiş, qazax milli melosunu bir qədər də dərinləşdirərək yeni özəlliklər daxil etmişdir. Abayın musiqi dili xalq melodikasından doğmuşdur və qazax xalq musiqinə çox yaxındır. Onun yaratdığı mahnılar akın ənənələrinin

68 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) bədii təcrübəsinə, qazax xalqının mahnı yaradıcılığına xas olan nəqlilik xüsusiyyətlərinə istinad edir. O xalq mahnı ənənələrini dərindən öyrənir və öz mahnılarını da bu ənənələr çərçivəsində yazırdı. O, yenilik xatirinə çoxəsrlik ənənələrin qırılmasına etiraz edir, yalnız milli ruhda əsərlərin ya- radılmasına çağırırdı. O, əsasında qədim əfsanə, rəvayətlərin, tarixi hadisələrin, qəhrəmanlıq dastanlarının dayandığı qopuz (komız) küylərinə böyük qiymət vermiş, küylərdə “müdrikin kəlamında olduğu qədər düşüncə və fikir var” sözlərini söyləmişdir. O küylərin mahiyyətini, musiqi ruhunu çox dürüst açır və poetik bir dillə onları “Sözsüz mahnılar” adlandırır. Abay küylərin “qəmli dili”ni, emosional təsir gücünün böyük olduğunu vurğulayır, küy melodiyalarının müxtəlifliyini, çoxçalarlığını özünə xas bədii şəkildə, mənalı və heyranedi- ci sözlərlə ifadə edir: “Melodiya gah axır, gah uçur, gah şahanə qalxır, gah incəlir, gah üzülür, gah çırpınır”. Abay özü də küy yazmışdır. Qazax musiqiçiləri Abayın bəstələdiyi üç küy aşkar etmişlər. Bu küyləri indiki nəslə çatdıran onun istedadlı oğlu Akıl- bay və nəvəsi İsrail olmuşdur. Bunlar - «Май түні» (May gecəsi), «Абай желдірмесі (“Yeldirməsi” (eydirmə), “Yelətmə”)», «Торы жорға» (Kürən yorğa (at)) mahnılarıdır. Bu küylər indi də qazax xalqının yaşatdığı, sanki bü- tün təbiəti, insanları ovsunlayan “Qorqud küyləri” kimi hər kəsi sehrinə salır, sanki “günəşin daha çox parladığı” işıqlı bir həyata səsləyir. Onu da qeyd edək ki, Abayın yaşadığı Semey vilayətində Abayın çaldığı dombraya oxşar olan alət tapılmışdır ki, bu dombra ənənəvi qazax dombrala- rından fərqlənir. Həmin alət üçsimlidir və “Abay dombırası” adını almışdır. Məlum olduğu kimi, qazax dombrası iki simlidir. Lakin, Abayın yaradıcılığı- nı araşdıran qazax alimlərinin, abayşünasların gəldiyi qənaətə görə, Abayın çaldığı dombra üç simli olmuşdur. Məlumat üçün qeyd edək ki, həmin üç simli dombra kvarta-kvinta quruluşludur, bir simdə melodik səs çalınır, digər iki simdə isə burdon səslər – daimi, dəyişməz səslər melodiyanı müşayiət edir. Göründüyü kimi, bu quruluş Azərbaycanın sazının “Şah pərdə kökü”nə tam uyğundur. Qeyd edək ki, Abayın yazdığı bəzi mahnıların melodiyasının səs diapa- zonu çox genişdir. İnsan səsi bu mahnıların ən aşağı və ən yuxarı tonlarını hasil etmək iqtidarında deyil. Abayın musiqi yaradıcılığının tədqiqatçılarının fikrinə görə, ola bilsin ki, bu mahnılar, ilk öncə, çalğı alətləri – dombra üçün nəzərdə tutularaq yazılmışdır, ilkin variantda instrumental əsər olmuş, sonra isə ona sözlər qoşulmuşdur.

69 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Abayın musiqi təhsili olmadığına görə musiqi nəzəriyyəsi ilə məşğul olmamışdır. Lakin o sözün gücü ilə, poetik dillə incəsənət, musiqi, onun təbiəti haqqında, mahnıların məzmunu, ideyası haqqında fəlsəfi-estetik baxışlarla yanaşı, sırf musiqili-nəzəri biliklər də sərgiləmiş, olduq- ca dəqiq və elmi baxımdan tutarlı fikirlər söyləmişdir. Məsələn o,- mu siqi səsinin fiziki xüsusiyyətləri haqqında yazırdı ki, musiqinin əsasını təşkil edən səsdir; səs – fiziki hadisədir; eşitmə orqanı vasitəsilə o hislərə təsir edir, hislər vasitəsilə şüura çatır.” Və yaxud, Abay xalq mahnıları və küylərin forma və quruluşu, melodik xüsusiyyətləri haqqında dəqiq fikirlər söyləyir: qazax mahnılarının yüksək notlarda çağırış intonasiya- sı ilə başlanması, geniş həcmli giriş hissəsinin çalınması xüsusiyyətini, onların yaranma səbəblərini izah edir, diqqəti əsərin sonluğuna – “ayaq” hissələrinin əhəmiyyətinə yönəldirdi. Abayın şeirlərində ifaçılıq xüsusiyyətləri – ifa ustalığı, ifaçı və dinləyici münasibətləri haqqında da dərin fikirlər vardır. O əsərin ifa qaydaları haqqın- da gənc ifaçılara müdrik nəsihətlər, tövsiyələr verir, tələblər ortaya qoyur ki, onlar bu gün də qazax ifaçılığında öz aktuallığını itirməyib. Onun 1887-ci ildə yazılmış şeirində deyilir: “söz düzəldi, dinləyən, sən də düzəl”. Bura- da Abay “yeni dövrün dinləyicisi”, “dərk olunan dinləmə” məfhumunu da gündəmə gətirir. Çünki, Abay incəsənətin ictimai və tərbiyəvi rolunu dərk edirdi və mahnını xalqın mənəvi inkişafında kəskin, iti bir silah hesab edirdi. Yazdığı yeni mahnıları ifa edə biləcək və həm də onu başa düşə biləcək, on- lardan yararlana biləcək dinləyici arzusunu dilə gətirirdi. Abay öz ətrafında daim mütərəqqi gəncləri, müasir düşüncəli musiqiçiləri, xalq ifaçıları və akınları toplamış, həyat gerçəklikləri haqqın- da öz düşüncə və fikirlərini onlarla bölüşmüşdür. Həmin musiqiçilər, ifaçı- lar da öz növbəsində, sənətkarın mahnılarını məhz onun istək və tələbləri baxımından çıxış edərək ifa etmiş, onlara yeni nəfəs vermiş, işləmələr apar- mışlar. İnterpretasiya edərək, çoxlu sayda yeni variantların yaranması və yayılmasına səbəb olmuşlar. Abay musiqi yaradıcılığının bir cəhəti də vardır ki, xüsusi önəm daşı- yır. Bu – Abayın rus musiqi mədəniyyəti ilə sıx bağlılığı ilə əlaqədardır. Abay Kunanbayev hələ kiçik yaşlarında bir neçə ay mədərəsədə oxudu- ğu illərdə rus məktəbinə də getmişdir. Həmin illərdən başlayaraq, rus dili, ədəbiyyatına və musiqisinə maraq göstərmişdir. O, rus ədəbiyyatı və po- eziyasının vurğunu olmuş, rus xalq yaradıcılığını öyrənmiş, şəhər mahnı və romanslarını, eləcə də M.Qlinka, A.Rubinşteyn və digər bəstəkarların

70 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) vokal əsərlərinə qulaq asmağı sevmişdir. Abay Qazaxıstana sürgün olunmuş rus maarifpərvərləri, siyasi məhbuslarla əlaqədə olmuş, onların mütərəqqi ictimai-siyasi baxışlarını mənimsəməklə yanaşı, içdən gələn, həsrət dolu kədərli nəğmələrini dinləmiş, onların ruhunu hiss etmişdir. Abayın oğul- ları, Akılbay və Abdurrahman Rusiyada təhsil almış və tətil günlərində vaxtaşırı olaraq atalarını özləri ilə gətirdikləri rus bəstəkarlarının mahnı və romansları ilə tanış etmişlər. Təbii ki, bütün bunlar Abayın yaradıcılığına təsirsiz ötüşməmişdir. Abayın mahnılarında rus və Ukrayna xalq mahnıla- rının, xüsusilə də, şəhər məişət mahnıları, XIX əsr rus romanslarının təsiri müşahidə olunur. Rus mahnıçılıq ənənələrinə, rus romanslarına xas olan melo-intonasiyalar – melodiyanın genişliyi, geniş melodik oxumalar, ro- manslara xas dramatik elementlərin mahnılara daxil edilməsi və s. Abay mahnılarının özəl göstəriciləridir. Məhz bu baxımdan, Abay melodiyaları ənənəvi qazax xalq mahnılarından fərqlənirdi və yeniliyi ilə diqqəti cəlb edirdi. Bir çox abayşünaslar bəstəkarın musiqi dilində qazax xalq mahnı- sı və rus demokratik mahnı mədəniyyətinin sıx bağlılığını qeyd etmişlər. Bir tərəfdən qazax musiqi folklor ənənələri, digər tərəfdən rus mahnıçılıq ənənələri – Abay mahnı yaradıcılığının özünəməxsusluğunu müəyyən edən əsas amillər olaraq dəyərləndirmişlər. Abay rus ədəbiyyatı və musiqisinin qazaxlar arasında tanınması və təbliğ edilməsində böyük rol oynayıb. Abay A.S.Puşkinin, M.Lermontovun, Krı- lovun və başqalarının əsərlərini qazax dilinə tərcümə edib, doğma dildə səsləndirib və həmin sözlərə mahnılar bəstələyib. Bunlar içərisində Aba- yın A.S.Puşkinin “Yevgeni Onegin” əsəri əsasında yaratdığı “Tatyananın məktubu” əsəri xalq arasında geniş yayılan və milli özəllik, milli status qazanan mahnılardan biridir. Abayın bu mahnısı haqqında rəvayətlər dola- şıb, rus musiqiçiləri tərəfindən, ilk öncə təəccüblə qarşılanıb, sonra isə çox yüksək qiymətləndirilib. Abayın yazdığı “Oneginin etirafı” mahnısı da bu silsilədəndir. Onu da qeyd edək ki, məhz bu əsərləri rus ictimaiyyəti arasında Abay yaradıcılığına maraq oyadıb və tanınmasına səbəb olub. Abayın “Qaranlıq gecədə dağlar yatır” şeirinin yaranma tarixçəsi də maraq- lıdır. Bu Hötenin “Qərib yolçunun gecə mahnısı”nın mətnindən götürülmüşdür. M.Lermontov həmin şeiri rus dilinə “Qaranlıq gecədə uca dağlar yatır” adı al- tında tərcümə etmiş, Abay isə məhz bu tərcümədən bəhrələnərək həmin şeiri doğma dildə səslənən mahnıya çevirmişdir. Mahnı sevilərək, sonralar, qazax xalq mahnısı statusu qazanmışdır. “Qonur gözlər” rus xalq mahnısını da, Abay, özünəməxsus şəkildə interpretasiya edərək milli xalq melodiyasına çevirmişdir.

71 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Görkəmli rus-sovet musiqişünası V.Belyayev Abayın mahnılarını təhlil edərək, onların qazax folkloru ilə əlaqəsini vurğulamış, bununla yanaşı, on- ların qazax musiqi mədəniyyətində yeni, daha mütərəqqi bir bədii hadisə ol- duğunu, demokratik qazax mahnısının əsasını qoyduğunu söyləmişdir. Eyni zamanda, Abayın mahnı yaradıcılığı, ümumilikdə, qazax vokal yaradıcılığı- nın, bəstəkar yaradıcılığının inkişafına təkan vermişdir. Abay qazax mahnıçılıq ənənələrinə bir çox yeniliklər qatmışdır. 1. O milli vokal musiqiyə yeni məzmun – yeni mövzular və obrazlar gətirmişdir. Bunlar arasında insan həyatını əks edən mahnılar, nəsihət- mahnılar, ayrılıq mahnıları, eyni zamanda, şeiri, sənəti, eləcə də, biliyi və zəhməti tərənnüm edən mahnılar vardır. Onun dərin məzmunlu mahnıları (əsti ən) – “jırau poeziyasının fəlsəfi dünyasının – hikmətinin davamı” olaraq dəyərləndirilir. Onlar arasında məhəbbət mövzulu, satirik və ifşa- edici mahnılar da vardır. Xasiyyət etibarilə, bəzən mərd, sərt və ciddi, bəzən isə işıqlı, kədərli və faciəvidir. 2. Abayın mahnılarının gözəlliyi onun sözləri ilə melodiyasının üzvi birliyindədir. Onun mahnılarında söz – poetik mətn ön plandadır. Abay sənətində söz - müqəddəsdir. Lakin, bununla belə, Abayın bir bəstəkar – sənətkar kimi böyüklüyü ondadır ki, bəstələdiyi nəğmələrdə hər iki bədii ünsürün – söz və musiqinin qırılmaz vəhdətinə nail olmuşdur. Aba- yın mahnılarında söz və musiqinin sinxronluğu ön plandadır, “səs-heca” prinsipinə əsaslanır. Bədii semantikaya malik sözü qabarıq şəkildə, hər bir mümkün musiqi dili vasitəsi ilə çatdırmaq Abay yaradıcılığının əsas şərtidir və kökləri folklorun ilkin formalarına gedib çıxır. 3. Qazax professional musiqisində başlanğıc sözün melodeklamasiya vasitəsilə məna tutumunun qabardılması xüsusiyyəti müşahidə olunur. Hər hansı bir mühüm və dərin semantikaya malik sözün vurğulana- raq şeir misrasında qabardılması, sözün ifadəli şəkildə musiqi ifadə vasitələrinin köməyi ilə üzə çıxarılması özəl xüsusiyyətlərindən bir hesab olunur. Bu xüsusiyyət Abayın mahnılarında da mühüm amilə çevrilir. Misra daxilində poetik intonasiyaların musiqi intonasiyaları vasitəsilə ifadə olunması, mühüm məna daşıyan sözün yuxarı istiqamətli səs həmlələri vasitəsilə qabardılması, vacib sözün ritmik cəhətdən formalaşması nəticəsində üzə çıxarılması – Abayın mahnılarının əsas melodik-intonasiya, struktur və metr-ritm xüsusiyyətləridir. Abay öz yaradıcılığında xalq melosuna xas olan ən müsbət xüsusiyyətləri sənətkarlıqla seçərək, onları sanki, cilalayır, incəliklə işləyir və yeni

72 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

üslubda təqdim edir. Bu cəhət onun musiqi yaradıcılığının ayrılmaz hissəsinə çevrilir və özündən sonra gələn bəstəkarların yaradıcılığına təsir edir və inkişaf etdirilir. 4. Abaya qədər, qazax poeziyasında daha çox 11 hecalı şeir nümunələrindən istifadə olunurdusa, Abay bu sahəyə də yeniliklər gətirərək səkkiz və altı hecalı şeirin əsasını qoymuşdur və bu şəkilli şeirlərə mahnılar yazmış- dır. Bunlardan biri də “Səkkiz ayaq” mahnısıdır ki, xalq arasında olduq- ca populyardır. Abayın mahnı janrına gətirdiyi əsas yeniliklərdən biri də odur ki, onun mahnıları yalnız bir şeir mətninə uyğun olaraq yazılıb və dəyişməz olaraq qalır. Müqayisə üçün deyək ki, Azərbaycan aşıqlarının “klassik havaları” və “aşıq mahnıları” da məhz bu xüsusiyyətinə görə bir-birindən fərqlənir. Onun ən populyar mahnılarından biri “Gözümün qarası” mahnısıdır və dəyişməz qalan poetik mətnə oxunur. Mahnının qəmli melodiyası sevən, sevgilisinin gözəlliyini vəsf edən, əzab çəkən bir gəncin hiss və həyəcanını, olduqca həssaslıqla ifadə edir. Abayın belə ürəkləri fəth edən, insanın ən incə damarına təsir edə bilən mah- nıları çoxdur. “Elim ay, yurdum ay”, “Qazax çölləri”, “Ayttım salam, Kalamkas” (Salam göndərdim Qələmqaş gözəl), («Мен көрдім ұзын қайың құлағанын» (Mən gördüm uzun qayın ağacı) «Өлсем орным қара жер» (Ölsəm yerim qara torpaq), “Jelsiz tündə jarık ay” (Yelsiz gecədə yarım ay), və s. 5. Abay öz mahnılarında melodik bəzəklərdən imtina etmişdir – onun fikrincə, bəzəklər, lazımsız melodik fiqurasiyalardır, şeirin dərk olunması- na mane olur və buna görə də, onları artıq hesab edərək melodik mətndən kənarlaşdırmışdır. Qazax xalq havalarına xas olan emosionallıq, müğənni- improvizatorun bacarığını göstərən zəngulə tipli fioriturlar, səsli-küylü açıq hava musiqisi xüsusiyyətlərindən də imtina etmişdir. Onun fikrinə görə, bütün bunlar sözün rasional qavranmasına mane olur. 6. Abay yaratdığı nəğmələrə bir çox yeniliklər daxil etsə də, heç vaxt qazax musiqisinin intonasiyalarından kənara çıxmamışdır. Qazax xalq mahnı- ları Kara ölen və küylərinin melodik-intonasiya, metr-ritmik, forma və quruluş özəllikləri Abayın musiqi yaradıcılığının əsasını təşkil edir. Bəzi mahnılarında ağı intonasiyaları duyulur ki, bunlar oğlu Akılbayın vaxtsız ölümü ilə bağlı yazdığı mahnı-ağılardır. Mahnı-ağılar təbiəti etibarilə qa- zax folklor nümunələrini xatırladır. Abay akın ənənələrinə xas olan nəqli janrın melodikasının nitq elementlərini yeni şəkildə istifadə edir: Akın yaradacılığına xas olan

73 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры nəqlilik və reçitasiyasını – qeyri-sabit metr-ritmik formulları təşkil olun- muş ritmik formullara çevirir. Musiqinin temp-ritmi də sözü önə çıxar- maq məqsədi daşıyır. Bu baxımdan, müəyyən mənada mərasim mahnıla- rının xüsusiyyətlərini davam etdirir. O melodiyanın inkişaf xəttinə yuxarı istiqamətli kvarta intervalı intonasiyası, geniş intervallara sıçrayışlar - səs həmlələri, çağırış elementləri əlavə edir. Nəticə. Abayşünas alimlərindən biri olan Aliyə Sabırova “Abayın musi- qi reforması” [4] adlı məqaləsində Abayın musiqi yaradıcılığını qazax milli musiqi mədəniyyəti, XIX əsrin siyasi-ictimai mühiti çərçivəsi kontekstində təhlil edir. O, Abayın bir mütəfəkkir olaraq musiqi haqqında yazdığı şeirləri önə çəkir, və onları mütəfəkkir-bəstəkarın musiqi estetikasının əsas, açar mahiyyətli ideya mənbəyi olaraq dəyərləndirir. Abayın yeni mahnı modeli ya- ratdığını və onun bəstəkar yaradıcılığında istifadə olunaraq davam etdirildi- yini söyləyir. Abayın mahnılarının elmi-nəzəri, musiqi-üslub xüsusiyyətlərini dərindən təhlil edən müəllif mühüm nəticələr əldə edir və Abayın musiqi re- formasının əsas müddəalarını açıqlayır. O yazır ki, Abay “poetik intonasiya- nın, sözün deyilişinin adekvat-dəqiq ifadə edilməsi yolu ilə gedir. Sıçrayışın istiqaməti melomisranın yerləşməsinə bağlıdır. Nəticədə havanın xarakteri dəyişir. O, musiqili ümumiləşmə deyil, mətnin məna aksentlərini vurğulayan sözü olduğu kimi və bilavasitə izləyir, ardınca gedir.” Və müəllif Abayın ya- radıcılığında qərar tutmuş universal prinsipləri qeyd edir: “1. Şeir və havanın münasibətlərindəki “heca-not” prinsipli sinxronluq – improvizasiyalı milli oxumadan (raspev – müəllif) imtina edilməsi sayəsində əldə edilir. 2. forma – bir-birindən sezura ilə ayrılan melomisralar vasitəsilə qurulur. 3. ... dayaq tonları və qeyri-sabit tonların qarşı-qarşıya qoyulması, orta hissələrin avtentikliyi və tamamlayıcı kadensiyaların tonikallığı – bütün bunlar lad/məqamı formayaradıcı prosesin tənzimləyicisi səviyyəsinə gətirib çıxarır” [4, 32]. Müəllif, eyni zamanda, melodiyanın yaranmasında poetik qafiyələrin ro- lunu da xüsusi olaraq vurğulayır. Abay haqqında fikirlərimizi yenə də onun özünün musiqi haqqında kəlamı ilə bitirmək isəyirik. Qazaxıstanın “baş akın”ı adını qazanan Abay demişdir: “Musiqiyə var: ürək melodiya ilə qovuşuqdur.” Abayın bütün varlığı, qəlbi ilə yaratdığı ürək melodiyaları, bu gün yenə də, insanları “hüdudsuz xoşbəxtlik sahillərinə” (Abay) qovuşdurur, azadlığa səsləyir, həyatı bütün gerçəklikləri ilə sevməyi öyrədir.

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ƏDƏBİYYAT: 1. Бимбоэс А.Э. 25 киргизских песен. // Музыкальная этнография. Сборник статей под ред. Н. Ф. Финдейзена, № XXV. – Ленинград, 1926. 2. Затаевич А.В. 1000 песен киргизского народа (напевы и мелодии) / под ред. А.Д.Кастальского, предисл. и примеч. автора; Труды о-ва изучения киргизского края. – Оренбург, 1925. 3. Ерзакович Б.Г. Народные песни Казахстана. – Алматы, 1955. 4. Сабырова А.С. O музыкальной реформе Aбая. // Вестник Казахского Национального педагогического университета. – Алматы, 2017.

Irada Kocharly (Azerbaijan) THE MAIN AKIN OF KAZAKHSTAN – ABAY Abay entered the history of Kazakh music culture as a music reformer. With his work, he expanded the boundaries of Kazakh folk song, brought it a new content, a new form, expanded the genre system. He added new melody- intonation, meter-rhythm, form and other features: wide melodies typical of the romance genre, fluent readings, new intonations, rhythmic formulas, etc to the songs he wrote. At the same time, Abay brought innovations to the figurative-content structure of songs, deepened their lyrical-psychological mood, added serious-dramatic elements to the melodies he wrote, enriched the lyrics of nature and love with philosophical, humanistic, enlightening ideas, expanded the intonation dictionary of Kazakh song, added features to the Kazakh national melody. Abay had neither musical education, nor knowledge of notes, and did not record the music he added to his words. Today, more than 60 songs of Abay have been collected and recorded by folklorists. He was able to sing and play the dom- bra. They say that he did not have a strong voice or a wide range of voices. However, the sincerity and depth of his performance, the timbre of his voice, the poetic beauty of the poem, the wisdom of the words inspired and excited many hearts. Abay’s musical language was born from folk melodies and is very close to Kazakh folk music. His songs refer to the artistic experience of the akins’ tradi- tions, the narrative features inherent in the songwriting of the Kazakh people. Key words: Abay, song, kyuy, dombra, akin.

75 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

Ирада Кочарли (Азербайджан) ГЛАВНЫЙ АКЫН КАЗАХСТАНА – АБАЙ Абай Кунанбаев – вошел в историю казахской национальной куль- туры и как музыкальный реформатор. Своим творчеством он расширил границы казахской народной песни, внес в нее новое содержание, новую форму, расширил жанровую систему. Он привнес к написанным им пес- ням новую мело-интонацию, метро-ритмику, форму и другие особенно- сти: широкие мелодии, характерные для жанра романс, распевное пе- ние, лишенные восточной орнаментики, ритмические формулы и др. В то же время Абай внес новшества в образно-содержательную структуру песен, углубил их лирико-психологический настрой, добавив драмати- ческие элементы в написанные им мелодии, обогатил любовную и при- родную лирику философскими, гуманистическими, просветительскими идеями. С этой точки зрения, Абай расширил интонационный словарь казахской песни и особенности казахского национального музыкально- го языка. Абай не имел музыкального образования, не знал ноты и по этой причине не записывал свои мелодии. На сегодняшний день собрано и записано фольклористами более 60 песен Абая. Он умел петь и играть на домбре. По некоторым сведениям, у него не было сильно- го голоса и широкого диапазона. Однако искренность и глубина его исполнения, тембр голоса, проникновенные мелодии, поэтическая красота стихов, мудрость слов вдохновляли и волновали многие сердца. Музыкальный язык Абая родился из народных мелодий и очень бли- зок к казахской народной музыке. Его песни относят к художественному стилю акынских традиций, основывается на повествование, присущим песенному творчеству казахского народа. Ключевые слова: Абай, песня, кюй, домбра, акын.

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UOT 78.07

Iham Nazarov Honored Artist Baku Music Academy named after U.Hajibeyli (Azerbaijan) e-mail:[email protected]

THE ROLE OF PATRIOTIC SONGS IN THE WORKS OF MUSLIM MAGOMAYEV

Abstract. This article deals with studying the creativity of patriotic songs of the famous world performer, People’s artist of the USSR M.Magomayev. The songs of patriotic content are important on the professional path of the performer. So, from the first stages of creativity to the last moment, the outstanding artist paid great attention to songs dedicated to the Motherland. The outstanding figure also successfully expressed his word in this genre and introduced a number of innovations. The patriotic songs in the works of M.Magomayev are found both among the songs written by the performer, and among the songs to which he refers. With his performance, the singer enriched such works with various means of expression and raised them to a new level. So, in the song “The Alarm Bells of Buchenwald” (“Buchenvaldskiy nabat”) the singer showed himself as a master of recitation. Bulbuloglu’s song “My city, Baku” (“Gorod moj, Baku”), performed by him, absorbed the advanced musical trends of the 1970s and 80s. At the same time, he managed to form a new direction in the genre, marked by the work “The ballad of a little man”, the author of which is a legendary performer. And his song “Spring land, Azerbaijan” (Baharly, yurdum, Azerbayjan) is still considered the peak of Azerbaijanism in our time. Key words: Muslim Magomayev, patriotic theme, songs, baritone, vocals.

Introduction. The theme of M.Magomayev’s pop art is extensive and quite comprehensive. Very often, pop artists prefer songs on the theme of love in his repertoire. Along with songs on the theme of love, patriotic songs occupied a large place in the work of the outstanding artist. M.Magomayev’s works are impossible to imagine without songs of Patriotic spirit. Although the legendary performer lived most of his life outside of his

77 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры homeland, his heart was constantly beating with it. This is clearly shown in the artist’s songs, in his works, which glorify the Motherland with great sincerity. Homeland and a sense of citizenship not only formed the basis of M.Magomayev’s work, but also became his life’s work. Patriotism in the personality of M.Magomayev is not limited only to the borders of his native people. He’s like a citizen of this world. The interpretation of the main material. Note that the singer’s appeal to Patriotic songs is not accidental. Analyzing the features of the patriotic song creativity of a vocal performer, we determine that there are two beginnings here. As it is known, he lost his father in the Second World War, and this higher feeling primarily originates from the environment formed in his family, from his childhood. Another reason was that patriotic songs became an integral part of the music of the 60s of the last century: “Since the 60s of the XX century, new traditions have already begun to form in Soviet pop music... The song genre included new images and ideals. In the song melodies, recitative declamation was even more intensified. The songs began to clearly reflect the civil direction, the manifesto songs appeared, and more and more application to patriotic lyrics, songs about peace, reflecting the Great Patriotic war was noted” [6]. M.Magomayev turned to songs that glorify the Motherland, from the first stages of his work. The musician also sang songs on domestic themes at prestigious international competitions, where he became the winner, gaining a wide fame: “A part of my life connects me with the publicism of military songs. In any case, this is a different feeling that draws me to the songs of the war years. Like any citizen, I want to help preserve peace on earth, fight the threat of nuclear war, remind my peers, young people who know what war means from literature and movies, about its horrors and sufferings, and urge them to be vigilant and take active measures to preserve peace” [3, p. 3]. The theme of the Motherland passed through the artist’s work literally, like a red line, at all stages of his life. Songs of national themes in the singer’s work are manifested in two forms: - the songs that the musician refers to; - the songs on domestic themes authored by the performer. In Magomayev’s work, the songs related to the Motherland include song manifestos, songs about peace, songs reflecting the Great Patriotic war and written during wartime, as well as songs related to Azerbaijan. The world-famous vocal artist has also managed to expand the possibilities of this genre, and this is manifested in various forms. So,

78 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) the singer managed to combine the most advanced musical trends of that time in his songs. This means enriching these songs with new means of expression. For example, we can cite “The Alarm Bells of Buchenwald” (“Buchenvaldskiy nabat”) by the Georgian composer V.Muradeli, “Ah, roads”(“Jeh, dorogi”) by A.Novikov, and dozens of other examples that characterize the view of these songs in a new way [10]. As a performer with a broad musical mindset, M.Magomayev managed to raise these works to the level of a Manifesto song. At the same time, I would like to emphasize the role of the features of the performer’s voice, his vocal performance capabilities[2, p.107-115]. Thus, the strength, firmness of the voice of a vocal performer, and the mutually exclusive shades of his voice expanded the range of content of songs. Thus, the strength, firmness of the voice of the vocal performer, the mutually exclusive shades of his voice expanded the range of content of the songs. As we have emphasized, the patriotic songs have distinctive features, being performed by M.Magomayev. So, there are songs that attract attention not only by their solemnity, recitation, but also by their lyrical style of performance. Vocal and performance analyses of the songs were performed in accordance with the performance samples that we mentioned below. V.Muradeli composed the song “The Alarm Bells of Buchenwald” (“Buchenvaldskiy nabat”) in 1958 [5, pp. 63-68]. Thanks to the combination with the voice of M.Magomayev with high acting abilities, the song became monumental. The song gives the impression of a vocation performed by the singer. Despite the fact that the theme of the song is repeated three times, it is impossible to talk about the usual performance repetition. Speaking of the main means of expression used in the song, the strength of the performer’s voice, recitation, perseverance and purposefulness in his voice can be specified. M.Magomayev performed the song to the orchestral accompaniment and choir. The singer showed himself here as a performer with a skillfull oratorical talent. This is obvious in the instantaneous change in the strength of his voice and in the character, as well as in the accents made based on the meaning of the word. The newspaper “Baku worker” states the following about the impression that M. Magomayev made during the performance of the song “The Alarm Bells of Buchenwald” (“Buchenvaldskiy nabat”): “For several years now, the musician has been performing the song “The Alarm Bells of Buchenwald”. But on the stage of the theater called “Forest scene” the song sounded stronger

79 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры and fiercer. This is an anthem – a protest against the war, an anthem - a call for solidarity. Despite the fact that M. Magomayev performed the song in many countries, his performance each time found a response in the hearts of listeners” [4, p. 3]. The audience’s attention is drawn from the first lines of the song (“People of the world! Stand up for a minute!”)(“Ljudi mira! Na minute vstan’te!”). Here he sang the piece in forte dynamics and used conversational intonation. The accompaniment of bells in the song also gave the recitation a kind of determination. There are two climax in the song “The Alarm Bells of Buchenwald” (“Buchenvaldskiy nabat”). The first climax prepares the second, main climax by lowering the sequenced movements. The performer used two forte dynamics here. The second culmination of the work is its highest point. M.Magomaev sang, slightly expanding the tempo here. In the song, the performer’s voice stands out for its strength and fullness. During the repeat for the second time, the singer performed the song at a marching pace, giving it a certain mobility. The musician finished the last verse of the song with the call: “Take care of the world!” (“Beregitemir!”), again performing it in the Largo tempo. In his solo concerts, M. Magomayev paid a lot of attention to compositions with songs on the theme of the Motherland. One of them is the song “Eternal glory to heroes” (“Vechnaja slava gerojam”). Here, along with works written by the singer himself, songs by other composers were used. M. Magomayev performed a composition of these songs at a solo concert in Baku in 1986 for the first time [8]. As it has been already noted, Azerbaijanism and the singing of the native people in his songs are of great importance in the works of M. Magomayev. The artist’s repertoire includes a sufficient number of works related to Azerbaijan. This includes such songs as “Azerbaijan”, “Baku autumn” (“Bakinskaja osen’”), “My City, Baku” (“Gorod moj, Baku”) by P.Bulbuloglu, “The song about Baku” (“Pesnja pro Baku”) by R. Hajiyev, “Stars of Baku” (“Zvezdy Baku”) by A. Sultanova, “Good morning, Azerbaijan” (“Dobroe utro, Azerbajdzhan”),“My homeland” (“Rodina moja”) by T. Guliyev, and many other songs. The song “My city, Baku”, written by P.Bulbuloglu, is one of the most frequently performed and favourite in the repertoire of M. Magomayev. The song reflects the most advanced musical traditions of the time. Rich harmony and accompaniment, elements of jazz, playful rhythm act as the main characteristic feature of the song. Here the performer notes that Baku

80 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) is the most native place in the world. In the song, the artist’s voice is joyful, bright and piercing. At the same time, the performer’s voice also stands out for its colourful shades [13]. Among the works authored by the singer, there are also the patriotic songs such as “The Land of lights” (“Odlar olkesi”), “Spring land, Azerbaijan” (Baharly, yurdum, Azerbayjan), “The last chord” (“Poslednyj akkord”), “The ballad of a little man” (“Ballada o malen’kom cheloveke”), “Eternal flame” (“Vechnyj ogon’”). The main aspect of works on the theme of the Motherland authored by M.Magomaev is their composition in a new style. One of these songs is “The ballad of a little man”, written to the words of R.Rozhdestvensky [9]. The novelty of the work is shown in the content, structure, and musical language. So, in the song, a poem was used instead of a solo part. Here the soloist is accompanied by a variety symphony orchestra. It should be also noted that the recitation inherent in M. Magomayev is manifested here in a completely different way. If the song “The Alarm Bells of Buchenwald”is a call to the whole world, then “The ballad of a little man” is a reflection of human destiny. The composition resembles a small musical performance. This fact is the most excellent proof that M. Magomayev expanded the scope of the song genre. The singer built the melody of the composition on the song “Holy war” (“Svjashhennaja vojna”). M.Magomaev created a composition with deep philosophical content, using minimal means of expression in the song. In the song “The ballad of a little man”, the content is presented quite succinctly, and some of the changes that occur inside are closely related to the lyrical, sad, dramatic notes in the music. The composition consists of three parts, and here the example of human life clearly shows what life, war and death are. The composition starts with a two-line introduction by the orchestra. The song exposition features a poem expressing the main character. This paragraph is read to lyrical music. Then it shows how the hero is taken to war, given weapons, and dressed in a soldier’s uniform. At the same time, the rhythmic structure of the music is changed and the rhythm characteristic of military songs is used. And the climax of the song reflects the death of the hero. Here, the orchestra performs a fragment from the song “Holy war”. At this time, the singer performs the text with all the power of his voice. It should be noted that the song “Ballad of a little man” in the spirit of the poster is an original and unique example of the art of M. Magomayev’s creativity. In General, the theme of the Motherland is one of the highest values and qualities in the personality of M.Magomayev. The highest feeling, like

81 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры attachment to the Motherland, did not leave the singer in the last periods of his life. In the last years of his life, the legendary performer could not come to Baku for health reasons, and six months before his death, he composed the song “Goodbye, Baku!”(“Proshaj, Baku!”) to the words of the outstanding Russian poet S.Yesenin. It reflects the desire to see the hometown again. The first half-verse of the song “Goodbye, Baku”, I shall never see you, now there is sadness and fear in my heart” is a praise of deep love for the city where he was born and grew up, and a farewell to the great performer. The melody of the song has a lyrical and philosophical content and stands out among his other songs. So, there is no solemnity, sense of joy, pathos, as in the songs “Spring land, Azerbaijan”, “The land of lights” and his other songs [12]. The song includes three paragraphs of the poem. This work is one of the saddest songs in the repertoire of M.Magomayev. As it has been already noted, the patriotic theme in the creative song activities of the outstanding singer includes the works that require different styles of performance. One of them is the song “Spring land, Azerbaijan”. The pinnacle of the artist’s songwriting activities is the song “Spring land, Azerbaijan”, written to the words of N.Khazri. M. Magomayev gave concerts with this song on the most famous stages of the world. “In our musical culture, there is no such a composition praising the high patriotic feelings in a high form as the song “Spring land, Azerbaijan”. The song has become the unofficial anthem of our Republic and is accepted with great sympathy by listeners. The song “Spring land, Azerbaijan” is the most beautiful composition that expresses Azerbaijanism, national and spiritual values, and a high sense of citizenship. This song is known to listeners mainly under the name “Azerbaijan”. The song brings to us a great citizen whose heart is constantly beating for the Motherland. The composition was written in 1975, and M. Magomayev performed it for the first time at a concert in Baku”[1, p.7].National leader Heydar Aliyev also praised the song “Spring land, Azerbaijan”: “Muslim created this song and has been singing it for many years. Wherever he performs, his performance of this song makes a great impression on the listener. And most importantly, Muslim is a loyal son of his people and homeland. Through this song he pays tribute to the Azerbaijan, as well as his feelings” [11]. The song starts with a two-line introduction with the words: “Oh, my dear mother, Azerbaijan! I am attached to you, Azerbaijan” (“Ey eziz anam, Azerbayjan! Sene baglıyam, Azerbayjan!”), which clearly express his love and affection for the Motherland [7].

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In the middle part of the piece, the song undergoes changes in tempo and rhythm. Thus, Moderato replaces the Allegro tempo. The example below shows the rhythmic pattern of a piece through red. This gives the song the impression of moving forward and a happy mood:

Figure 1: Rhythmic structure of the song “Azerbaijan” by M. Magomayev

The Motherland is praised with a great sense of love in the song. The compositional structure of the song is based on repeatability and sequence. The musical sentence “Spring land, Azerbaijan! Plane-tree, Azerbaijan!”(“Baharlıyurdum, Azerbayjan! Chinarlıyurdum, Azerbayjan!”) mentioned in the opening part of the song may be shown as an example. But the change in tempo and accompaniment during the second time sets them apart. The following line: “You are my love, my victory, the murmuring Kura,the Caspian, my sunny morning, Azerbaijan!”(“Senseneshgim, zeferim, ChaglayanKur, Xezerim, Guneshli al seherim, Azerbayjan!”) is the culmination of the artistic content in the song. Here, this line is repeated twice. The piece ends solemnly with the words “Oh, my dear mother, Azerbaijan!”(“Ey,ezizanam, Azerbayjan!”) as in the introduction. Conclusion. The songs about the Motherland occupy an important place in the work of M. Magomayev. Among the works authored and, at the same time, addressed by him, there are enough songs on the theme of the Fatherland. The outstanding performer raised the songs in his repertoire to a new level and showed a different attitude towards them. So, the wide sound capabilities of the musician, excellent vocal technique, rich sound shades gave the songs even more meaning. This is clearly shown in the songs “The Alarm Bells of Buchenwald”, “My city, Baku”, “The ballad of a little man”(“Ballada o malen’ko m cheloveke”) and others. The performer managed to form a new direction in this genre through his work “The ballad of a little man”. Also one of the notable moments is that the singer performs these songs accompanied by a variety symphony orchestra, his original orchestral language and harmony. The world-famous performer also

83 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры glorified Azerbaijanism in his songs. It is not for nothing that his song “Spring land, Azerbaijan”, as a Manifesto song, is the pinnacle of the Patriotic song genre. Thus, the works performed by the singer gave an impetus to the development of this genre in our music. For the first time, songs on the theme of the Motherland, written by Hajibeyli, presented a new stage in the work of M. Magomayev. His songs, both performed and written by him, constitute a new trend for the Azerbaijani music.

REFERENCES 1. Nəzərov İ. Müslüm ucalığı // Azərbaycan. – 2020, 24 oktyabr. – s.7. 2. Nəzərov İ. Müslüm Maqomayevin vokal ifaçılıq üslubunun səciyyəvi elementləri // Konservatoriya, 2020, № 1-2 (47). – s. 107-115. 3. Абдуллаев K. Муслим Магомаев: «Творчество – всегда поиск» // Вы- шка. – 1985, 11 августа. – с. 3. 4. Абдуллаев К., Гольдштейн Л. Земля – Родина любви // Бакинский ра- бочий. – 1982, 2 июля. – с. 3. 5. Мурадели, В. Бухенвальдский набат / Ради мира на земле. Песни для голоса в сопровождении фортепиано (баяна, гитары) [Ноты]: - Мо- сква, 1983. – с.66-68. 6. Иванова, Л. Советская песня. http://www.norma40.ru/articles/ sovetskaya-pesnya-v-60-gody.htm 7. http://www.magomaev.info/Klaviri-3.html 8. http://www.muslim-magomaev.ru/mp3-fajly/polnyj-spisok-pesen/ 9. https://www.youtube.com/watch?v=eyl7X2WB3k4 10. https://www.youtube.com/watch?v=li_nlAFbCoI 11. https://www.youtube.com/watch?v=OQaDthi1SzA 12. https://www.youtube.com/watch?v=0A6od0DCwCE 13. https://www.youtube.com/watch?v=-r67lNV09K

İlham Nəzərov (Azərbaycan) MÜSLÜM MAQOMAYEVIN YARADICILIĞINDA VƏTƏNPƏRVƏR MÖVZULU MAHNILARIN ROLU Təqdim olunan məqalədə dünya şöhrətli ifaçı, SSRİ Xalq artisti M.Maqomayevin vətənpərvər mövzulu mahnı yaradıcılığı araşdırılmışdır. İfaçının sənət yolunda vətənpərvər mövzulu mahnılar mühüm əhəmiyyətə malikdir. Belə ki, görkəmli sənətkar yaradıcılığının ilkin pillələrindən başlayaraq son dövrünə qədər vətən mövzulu mahnılara geniş yer vermişdir. Görkəmli sənətkar bu janrda da öz sözünü

84 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) deməyə müvəffəq olmuş və bir sıra yeniliklər gətirmişdir. M.Maqomayevin yaradıcılığında vətənpərvər mövzulu nəğmələrə həm onun müəllifi olduğu və həm də müraciət etdiyi mahnılar arasında rast gəlinmişdir. Müğənni ifası ilə həmin əsərləri fərqli ifadə vasitələri ilə zənginləşdirmiş və onları yeni mərhələyə yüksəltmişdir. Belə ki, müğənni “Buhenvald harayı” mahnısında özünü mahir deklamasiya ustası kimi göstərmişdir. Onun ifasında səslənən P.Bülbüloğlunun “Bakı-mənim şəhərim” adlı mahnısı 1970-80-ci illərin qabaqcıl musiqi təmayülləri özündə cəmləşdirmişdir. Eyni zamanda əfsanəvi sənətkar müəllifi olduğu “Kiçik insan haqqında ballada” əsəri ilə qeyd olunan janr daxilində yeni istiqaməti formalaşdırmağa nail olmuşdur. Onun “Baharlı yurdum, Azərbaycan” mahnısı isə müasir dövrdə də Azərbaycançılığın zirvə nöqtəsi sayılır. Açar sözlər: Müslüm Maqomayev, vətənpərvərlik mövzusu, mahnılar, bariton, vokal.

Ильхам Назаров (Азербайджан) РОЛЬ ПЕСЕН ПАТРИОТИЧЕСКОГО СОДЕРЖАНИЯ В ТВОРЧЕСТВЕ МУСЛИМА МАГОМАЕВА В представленной статье исследовано творчество в области песен па- триотического содержания знаменитого мирового исполнителя, Народного артиста СССР М.Магомаева. Песни патриотического содержания имеют важное значение на профессиональном пути исполнителя. Так, начиная с первых этапов творчества до последнего момента, выдающийся артист уде- лял большое место песням, посвященным родине. Выдающийся деятель также успешно заявил свое слово в этом жанре и привнес ряд новшеств. Песни патриотической тематики в творчестве М.Магомаева встречаются как среди песен, автором которых он является, так и среди песен, к которым он обращается. Своим исполнением певец обогатил такие произведения различными средствами выражения и поднял их на новый уровень. Так, в песне «Бухенвальдский набат» певец проявил себя как мастер декламации. Песня Бюльбюльоглу «Город мой, Баку», прозвучавшая в его исполнении, впитала в себя передовые музыкальные тенденции 1970-80-х годов. В то же время ему удалось сформировать новое направление в жанре, отмеченное произведением «Баллада о маленьком человеке», автором которого является легендарный исполнитель. А его песня «Весенний край, Азербайджан» и в наше время считается пиком Азербайджанства. Ключевые слова: Муслим Магомаев, патриотическая тематика, песни, баритон, вокал.

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UOT 782/785

Vugar Humbatov PhD (Art Study) Baku Music Academy (Azerbaijan) [email protected]

FEATURES OF THE MUSIC LANGUAGE OF THE SYMPHONY “ETERNITY” BY ARIF MELIKOV

Abstract. The article is devoted to the Symphony No. 8 “Eternity” by the outstanding musician Arif Melikov, a bright representative of the Azerbaijani modern school of composition. The article deals with a theoretical analysis of the symphony from the point of view of the features of the musical language, including form, harmony, texture, orchestral style, timbre, and much more. The work is dedicated to the prominent politician and statesman of the XX century, Heydar Aliyev. The main characteristic feature of the composer’s symphonic music is a wide range of figurative content, the embodiment of a deep and philosophical concept, rich sound shades. The main principle here is monologue. Key words: Arif Melikov, symphony, form, orchestra, timbre.

Introduction. In the XXI century, modern Azerbaijani musicology has made significant achievements. From this viewpoint, it is of vital importance for young researchers to study the principles and features of the creation legacy of great musicians as well as composers, performers and other leading musicians. For such researches we can point to the articles I.Nazarov, V.Humbatov and others [8, 7]. The following article analyzes the 8th Symphony “Eternity” by Arif Malikov, one of the prominent representatives of the modern Azerbaijani school of composition [6]. The composer’s symphony “Eternity” subjected to analysis, is a monumental composition which includes the features of the academic vocal-symphonic, monodrama and symphony genres for sound and orchestra [4]. The depth and fulness of the content, dramatic nature and variety in the delivery of moods and feelings, as well as the wide range of the composer’s writing style and technique, give the piece a special uniqueness and emphasize the importance of artistic ideas. Arif Malikov’s researcher L.Djafarova emphasized the following thoughts

86 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) about his music: “Arif Malikov’s idea of the orchestra is characterized by high universal professionalism, bright National originality, timbre diversity and subtlety of orchestra efficiency” [1, p. 3]. The composition is dedicated to Heydar Aliyev, the prominent politician and statesman of the 20th century. The historical role he played in the development of our country, the scope and essence of his activity and the respect he gained all over the world are known to all. “Now Arif Melikov is one of the greatest symphonists of our time. His symphonies are a surprisingly rich world, saturated with deep problems, high moral and ethical meaning, multi-faceted in its content, creating images of modern reality with its deep contradictions, acute social conflicts, and emotional outbursts” [5, p. 3-4]. The interpretation of the main material. The uniqueness of 8th Symphony makes itself evident first in the means of expression used by the composer to manifest the main idea of this work. Monologic style shows up here as a main principle. This principle was realized through the voice part (in the first and third parts), which is the main thematic core of the work. As for the orchestra, it plays on the one hand the role of accompaniment and background and on the other hand, it embodies the rich world of images of the piece. Its main subject is based on the intonations of F-sharp minor and Shushtar mode. Example № 1

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Dynamic waves and culmination episodes are indicated by orchestra. Orchestra is also essential for imbuing and complementing the mood expressed in the female voice part. “The 8th symphony by this composer (2003) is one of his most mysterious and ambiguous works. A.Malikov raises the issue of life and death for the first time and tries to investigate it. In order to express a clear attitude to this issue, to avoid any inaccuracies of meaning, he refers to words for the first time” [2, p. 49]. Furthermore the richness and brilliance of the harmonic and polyphonic structure come into view with idiosyncratic use of the symphonic orchestra opportunities. Their role is also manifested in the world of images of the external world, with exposition of anxiety and tension (part II). With this the composer managed to open new frontiers of traditional timbre and ensemble soundings. This work constitutes generally a large series of three parts. One of them is a unique suite consisting of vocal and orchestral numbers. Each number has a specific name and is based on the verses of Nazim Hikmet, the Turkish poet. It should be noted that he had a long-term, creative and genuine friendship with A.Malikov. With N. Hikmet’s plots the composer has created “Legend of Love”, which is considered a classic image of the national ballet and and a vocal miniature of six romances. In this symphony, the composer again touched on the deep and unique world images and ideas of this writer, and managed to create an embodiment of these ideas that complies with modern age and reveals their philosophical content. The first number (“So many nice women in this world”) begins with 4-bar orchestra introduction. It is based on the leitmotif of the symphony. This subject (in fff nuance) is performed with flute, oboe, trumpet and strings (1st and 2nd violins, viola, cello). Accompanying function is implemented with bassoon, contrabassoon, french horn, trombone, tuba, drums and double bass. A dramatic beginning that reflects concern and demonstrates at the same time resoluteness, shows up in the subject. Its transition occurs several times during this part. Number four opens as well together with this subject. The composer makes use of it both during development and at the end of separate sections. For this reason, the subject can be assessed also as the main part. The harmonic structure of the number is bright and full. This is primarily due to the comparison of instrumental and vocal parts in distant tonalities. C minor is in its turn represented by wide and colorful chords.

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Just like the first number, the second number (“You weren’t there”) also begins with the orchestral introduction, where is sounded a leitmotif functioning as a main part. The tonality, instrumental composition, tempo (Moderato) and dynamics almost do not change here. Interestingly, the musical content of the vocal part is given in the tonality of the main subject. The lyrical and dramatic beginning comes into view as well. This number is wider than the previous one in terms of its volume. It is based on a simple two-part form without reprises. As for its harmonic character, the harmonic line observed in the previous number is continued here. However the stability of F-sharp minor tonality can be indicated as a differentiating feature. This tonality also constitutes the basis of the instrumental introduction and vocal part that serve as a refrain of the whole first part. The mentioned tonality is presented in an expanded version. The third number “If I were a plane tree” is a large-scale piece. This number is characterized by the novelty of the music material and world of images. The lyrical-thoughtful and dramatic mood that came into view earlier is met here by narrative and descriptive images. It contains a simple three-part form with reprises. This number is resricted to the beginning and end. They are based on a new subject in F sharp minor. The author gives here a small-range melody based on the descending sounds of the chromatic gamma. Harmony is presented here in a wide and colorful manner. The “h” sound acts as a temporary scale degree of reference on the background of main F sharp minor tonality. This serves in its turn as an indicator of the principle of pluralism peculiar to national modes. As for the main tonality tonic, it makes itself more evident within the melodic line. Fusion of the main “f sharp” sound with the “f, e and d sharp” sounds acts as an instrumental connecton corresponding to a leitsound between the sections of the vocal part. The next piece called “You came to me in my dream last night” is a bit larger than the previous one. A lyrical and narrative beginning interfuses with dramatism in its character. The subject of the vocal part expresses melodic recitative. The form draws attention with its independence as well as the richness of imagery and intonation. A contrasting structure makes itself evident in this piece. The instrumental leitmotif sounded at the beginning of the first part is of great importance here. In one of the sections of the piece, it operates as a refrain. This motif opens the vocal

89 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры part preserving its character. Its first section constitutes a restructured period (4 + 4) and a 4-bar appendix. The second section comprises several structures. Purely instrumental small episodes alternate with larger vocal episodes. The principle of sequencing verses is observed here. The first verse of the vocal part consists of 5 bars while the second of 10. Then follows a new instrumental episode with the number 18. Here sounds a new material three times and in D minor, based on Bayati- Shiraz intonations, . The fifth number (“You”) has a deep and lyrical character. This piece is remarkable with its expressiveness, richness of intonation and texture sovereignty. In terms of its form, there is a two-part movement without reprise. The first part is organized in sequencing of two vocal verses. The first verse is shaped as one-sentence period consisting of three sentences. In respect of its structure, the second verse complies with the first. Then follows the second section of the piece. It includes the instrumental episode from the previous piece. It is a wide breath melody performed with inner dramatism. To some extent it serves as an auxiliary part. Here this melody is given in 15-bar scale with slightly different timbre colors. The sequencing plan of support tones is interesting. In addition to the reference scale degrees such as “h, f, a”, the author has added such new tones as “e” and “c sharp”. The last piece of the first part of the symphony (“You are in my closed eyelids”) arouses interest by the fact that it compares two different moods such as drama and easiness, striving for freedom. Its form draws attention by its uniqueness. The vocal part framed by an instrumental introduction and ending, contains a two-part form with shortened reprises. The first part constitutes one verse. This verse consists of six phrases. The second part consists of a few repetitive verses. The starting verse is repeated by transposing up a halftone. The second verse consists of a few phrases. The first phrase is repeated in a shortened version. As for the third phrase, it repeats the material of the first period. The second part of the symphony begins ceaselessly after the first part. This part is very different from the previous one by the characteristics of its style and composing technique of the composer, In this part, which does not include the vocal part, the possibilities of the symphony orchestra are offered in a deep and comprehensive manner. The author makes extensive use of the sonorous principle in this section. Owing to this, A.Malikov

90 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) manages to show the different characters and moods specific to the world of images of the symphony. The composer tries to show the nature that surrounds us and the beginning of life that amounts to it. The beginning is full of surprises that cause excitement and anxiety in a listener, and moves through time independently of humans. Consciousness on the other hand, tries to grasp it and conceive a logical explanation. Man is obliged to live as a part of this nature, to understand and accept the events that take place there.… The composer tries to revitalize all these complex thoughts and feelings by means of limited aleatoric music. But at the same time, the timbre dramaturgy is of great interest here. The second part of the symphony consists by its structure of numerous episodes with different intonation and timbre colors. The last part (Moderato, C sharp minor) is the manifestation of the author’s feelings for his homeland. The poetic text is based on A. Yildirim’s poem “Azerbaijan, my captured country”. Deep lyricism and wide-breath melodiousness are the main features of this part. It is written by its structure in a complex three-part form with the features of a final sonata. The first part is a simple two-part form without reprises. The first period consists of two 4 + 4 sentences. Example № 2

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The second period has a similar structure, but there is a difference in the number of bars (5 + 5). In its second sentence occurs a culmination. The small four-bar structure completes the first part of the finale. It is based on the second sentence of the first period. The instrumental episode-conjunction prepares the second part of the finale. It is sounded three bars prior to the number 48. The material of the first section is utilized here. Along with the step-by-step movement of the vocal part, passages to wide-range intervals are observed. The material is divided into verses. The first verse comprises seven bars and the second six bars. The third verse is sounded within five bars, followed by a new structure in C-sharp minor, the main final tone. Here is emphasized its dominant voice “G-sharp” which is presented as “e – h – g” triphony. This structure consists of three sentences (3 + 4 + 3). It is this structure that is intended to create the mood of the auxiliary part of sonata form in vocal works. In the second part of the work, the composer makes use of the possibilities of polyphony in a broad and vivid manner. The polyphonic principle makes itself evident mainly in application of various rhythmic and timbre lines as well as technical methods. Involvement of rhythmic blocks for improvisation in certain instruments parts in the realm of aleatoric music as well as fixation of the material on other instruments can be a good example. In the second part the polyphonic principle also interfuses with application of the variation method. It is seen not only in intonation, but also in timbre fusions and their renewal logic as well as in rhythmic metamorphoses. The intonation structure of the symphony benefits from folk and classical tonal-functional sources together with those of modern academic music. Arif Malikov’s orchestra is remarcable also with its special sound expressiveness. Its various timbres, instrumental groups and ensemble combinations serve the general idea of the work, the glorification of high artistic ideals. To characterize a certain image, the composer uses the necessary means of timbre expression. For example, the composer entrusts the leitmotif to the whole group of wind instruments from the first part, which includes strings, drums and some woodwind instruments. On the background of various images and moods, the character of this leitmotif is preserved as it is. However, depending on its settlemenet certain transformations may occur. For example, at the end of the second number it is performed only with the first and second violins, while in the

92 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75) fourth, it is assigned to flute and the first violins. The instrumental subject that creates the sonata Allegro and the mood of an auxiliary part within that number is played with string and woodwind instruments. Aftermath it is sounded with this composition in the fifth number, at the beginning of 23 . From the 7th bar of the same number, the texture gets slightly lighter and this subject is played only by strings. Introduction to the third and fifth numbers is remarkable with its uniqueness. It is presented in a new structure, different from the leitmotif. The subject performed with celesta, a triangle added to the harp, strings and flute piccolo, prepares the beginning of the vocal part in the third piece called “If I were a plane tree”. The introduction to the fifth piece called “You”, has a transparent sounding. This is achieved by playing the first and second violins, viola and cello. The expressive unison of solo french horns prepares the finale of the symphony. The last subject of the finale is played by a piano accompanied by strings. The role of orchestra in the accompaniment of the vocal part is also of great importance. It is not only an accompanying line, it is essential for developing the world of images and ideas of the symphony. The vocal part is mainly accompanied by strings. Sometimes different instruments are included here. At culmination modes the whole orchestra basically carries out performance. Conclusion. Now therefore, A.Malikov’s creation legacy is a new stage in the music culture of Azerbaijan. “A.Malikov is a composer who with his symphonies determined the main direction of development of our national symphonic music in the late 20th and early 21st centuries and played a leading role in this field. It is on one hand the mission of A.Malikov inherited from his teacher, to embody in full all the contrasts and collisions in the symphonic concept, summarizing the events of reality, the fateful issues of modernity [3, p. 56]. The symphony “Eternity” has opened a new page in the classical composition music of Azerbaijan and has become a unique modern example of world academic music.

REFERENCES: 1. Cəfərova L.T. Arif Məlikovun balet musiqisində tembr və faktura xüsusiyyətləri / L.T.Cəfərova. – Bakı, 2010. 2. Dadaşzadə Z.A. Musiqimizin “Arif Məlikov” adlı əfsanəsi // Musiqi dünyası, 2008, № 3-4 (37). – s. 48-51.

93 N1 (75) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

3. Mahmudova Ş.H. Zirvədən zirvəyə // Musiqi dünyası, 2003, № 3-4 (17). – s. 56-58. 4. Məlikov A. C. Səkkizinci simfoniya “Əbədiyyət” [Notlar]: / Partitura. – Bakı, 2008. 5. Алекперова Н.Ю. Ариф Меликов: страницы жизни и творчества. – Баку, 1988. 6. Gabay Y. Melikov Arif: [Electronic resource] / URL: https:// www.oxfordmusiconline.com/grovemusic/view/10.1093/ gmo/9781561592630.001.0001/omo-9781561592630-e-0000018327 https://doi.org/10.1093/gmo/9781561592630.article.18327 7. Humbatov, V. B. Scientific Work of Ilham Nazarov, a Prominent Representative of the Modern Vocal Performance School of Azerbaijan // Bulletin of Kyiv National University of Culture and Arts. Musical Art Series. – 2020, № 3 (2). – p. 132-145. https://doi.org/10.31866/2616- 7581.3.2.2020.219158 8. Nazarov İ. İ. Interpretation Peculiarities of Opera Arias of Azerbaijani and Western European Composers Performed by Muslim Magomayev// Bulletin of Kyiv National University of Culture and Arts. Musical Art Series. – 2020, № 3 (2). – p. 204-217. https://doi.org/10.31866/2616- 7581.3.2.2020.219170

Vüqar Hümbətov (Azərbaycan) ARIF MƏLIKOVUN “ƏBƏDIYYƏT” SIMFONIYASININ MUSIQI DILININ XÜSUSIYYƏTLƏRI Məqalə Azərbaycan müasir bəstəkarlıq məktəbinin parlaq nümayəndəsi, görkəmli bəstəkar Arif Məlikovun 8 saylı “Əbədiyyət” simfoniyasına həsr edilmişdir. Məqalədə simfoniyanın musiqi dilinin xüsusiyyətləri, o cümlədən forma, harmoniya, faktura, orkestr üslubu, tembr və s. cəhətdən nəzəri təhlili aparılmışdır. Əsər XX əsrin görkəmli siyasətçisi və dövlət xadimi Heydər Əliyevə həsr edilmişdir. Bəstəkarın simfonik musiqisinə xas əsas xarakterik xüsusiyyət obraz-məzmun dairəsinin geniş olması, dərin və fəlsəfi konsepsiyanı, zəngin səs çalarlarını özündə əks etdirməsidir. Açar sözlər: Arif Məlikov, simfoniya, forma, orkestr, tembr.

94 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N1 (75)

Вугар Гумбатов (Азербайджан) ОСОБЕННОСТИ МУЗЫКАЛЬНОГО ЯЗЫКА СИМФОНИИ «ВЕЧНОСТЬ» АРИФА МЕЛИКОВА Статья посвящена Симфонии №8 «Вечность» яркого представителя азербайджанской современной композиторской школы, выдающегося музыканта Арифа Меликова. В статье проведен теоретический анализ симфонии с точки зрения особенностей музыкального языка, включая форму, гармонию, фактуру, оркестровый стиль, тембр и многое другое. Произведение посвящено видному политику и государственному дея- телю XX века Гейдару Алиеву. Главной характерной чертой, присущей симфонической музыке композитора, является широкий диапазон об- разного содержания, воплощение глубокой и философской концепции, богатых звуковых оттенков. Ключевые слова: Ариф Меликов, симфония, форма, оркестр, тембр.

95 MÜNDƏRİCAT

Əliyev Elşad, Abdullayeva Rəna (Azərbaycan) 3 “Çaldıran döyüşü” – Avropa təsviri sənətinin nadir nümunəsi

Kərimli Vüqar (Azərbaycan) 11 Azərbaycan bədii mədəniyyətində naxış ünsürü

Rəsulova Zəminə (Azərbaycan) 19 Xuan Van Qalen Şəki xan sarayı haqqında nə yazıb?

Ağayev Emil (Azərbaycan) 27 Ziyadxan Əliyev tədqiqatlarında Azərbaycan incəsənətinin təbliği

Cəfərova Nəzmin (Azərbaycan) 33 Şuşa şəhərinin tarixi muzeyinin konsepsiyası

Kazımi Gülçin (Azərbaycan) 42 Dövlət mədəni siyasətinin kontekstində milli mədəniyyətinin təbliği və inkişafı

Kərimli Nurlanə (Azərbaycan) 50 Türk mədəniyyətində qadın obrazının təqdimatı

Əsədova Elnurə (Azərbaycan) 56 “Fərhad və Şirin” dram tamaşasında vətənpərvərlik və humanizm

Köçərli İradə (Azərbaycan) 66 Qazaxıstanın baş akını – Abay

Nəzərov İlham (Azərbaycan) 77 Müslüm Maqomayevin yaradıcılığında vətənpərvər mövzulu mahnıların rolu

Hümbətov Vüqar (Azərbaycan) 86 Arif Məlikovun “Əbədiyyət” simfoniyasının musiqi dilinin xüsusiyyətləri

96 CONTENCE

Aliyev Elshad, Abdullayeva Rana (Azerbaijan) 3 “Battle of Chaldiran” – a unique sample of European fine art

Karimli Vugar (Azerbaijan) 11 Pattern elements in Azerbaijan art culture

Rasulova Zamina (Azerbaijan) 19 What did Juan Van Halen write about Sheki khan palace?

Agayev Emil (Azerbaijan) 27 Promotion of Azerbaijani art in Ziyadkhan Aliyev’s research

Jafarova Nazmin (Azerbaijan) 33 The concept of the museum of the history of Shusha

Kazimi Gulchin (Azerbaijan) 42 Protection and development of national culture in the context of state cultural policy

Kerimli Nurlana (Azerbaijan) 50 Representation of woman characters in Turkic culture

Asadova Elnura (Azerbaijan) 56 Patriotism and humanism in the drama “Farhad and Shirin”

Kocharli Irada (Azerbaijan) 66 The main akin of Kazakhstan – Abay

Nazarov Ilham (Azerbaijan) 77 The role of patriotic songs in the works of Muslim Magomayev

Humbatov Vugar (Azerbaijan) 86 Features of the music language of the symphony “Eternity” by Arif Melikov

97 СОДЕРЖАНИЕ

Алиев Эльшад, Абдуллаева Рена (Азербайджан) 3 «Битва при Чалдыране» – уникальный образец европейского изобразительного искусства

Керимли Вугар (Азербайджан) 11 Элементы узора в художественной культуре Азербайджана

Расулова Замина (Азербайджан) 19 Что Хуан Ван Гален написал о дворце Шекинских ханов?

Агаев Эмиль (Азербайджан) 27 Продвижение азербайджанского искусства в исследованиях Зиядхана Алиева

Джафарова Назмин (Азербайджан) 33 Концепция музея истории города Шуши

Кязыми Гюльчин (Азербайджан) 42 Продвижение и развитие национальной культуры в контексте государственной культурной политики

Керимли Нурлана (Азербайджан) 50 Репрезентация женских образов в тюркской культуре

Асадова Эльнура (Азербайджан) 56 Патриотизм и гуманизм в драме «Фархад и Ширин»

Кочарли Ирада (Азербайджан) 66 Главный акын Казахстана – Абай

Назаров Ильхам (Азербайджан) 77 Роль песен патриотического содержания в творчестве Муслима Магомаева

Гумбатов Вугар (Азербайджан) 86 Особенности музыкального языка симфонии «Вечность» Арифа Меликова

98 99 Məqalə müəlliflərinin nəzərinə! Nəşrə dair tələblər:

1. Beynəxalq “İncəsənət və mədəniyyyət problemləri” jurnalında çap üçün məqalələr Azərbaycan, ingilis və rus dillərində dərc olunur. 2. Məqalələr elektron daşıyıcısı və e-mail vasitəsilə (mii_inter@yahoo. com) qəbul edilir. 3. Məqalələrin həcmi 10 vərəqdən (A4) artıq (şrift: Times New Roman – 13, interval: 1,5, sol kənar 3 sm, sağ kənar 1,5 sm, yuxarı hissə 2 sm, aşağı hissə 2 sm) olmamalıdır. 4. Məqalədə müəllif(lər)in adı-soyadı, elmi dərəcəsi, elmi adı və elektron poçt ünvan(lar)ı göstərilməlidir. 5. Elmi məqalənin sonunda elm sahəsinin və məqalənin xarakterinə uy- ğun olaraq, müəllif(lər)in gəldiyi elmi nəticə, işin elmi yeniliyi, tətbiqi əhəmiyyəti və s. aydın şəkildə verilməlidir. 6. Məqalənin mövzusu ilə bağlı elmi mənbələrə istinadlar olmalıdır. Mə­ qalənin sonunda verilən ədəbiyyat siyahısı əlifba ardıcıllığı ilə nöm­ rə­lənməlidir (məsələn, [1] və ya [1, s.119] kimi işarə olunmalı). Eyni ədə­biyyata mətndə başqa bir yerdə təkrar istinad olunarsa, onda istinad olunan həmin ədəbiyyat əvvəlki nömrə ilə göstərilməlidir. 7. Ədəbiyyat siyahısında verilən hər bir istinad haqqında məlumat tam və dəqiq olmalıdır. İstinad olunan mənbənin biblioqrafik təsviri onun növündən (monoqrafiya, dərslik, elmi məqalə və s.) asılı olaraq verilməlidir. Elmi məqalələrə, simpozium, konfrans və digər nüfuz­lu elmi tədbirlərin materiallarına və ya tezislərinə istinad edərkən mə­ qa­lənin, məruzənin və ya tezisin adı göstərilməlidir. İstinad olunan mən­bənin biblioqrafik təsviri verilərkən Azərbaycan Respublikasının Prezidenti­ yanında Ali Attestasiya Komissiyasının «Dissertasiyaların tərtibi qaydaları» barədə qüvvədə olan təlimatının «İstifadə edilmiş ədəbiyyat» bölməsinin 10.2-10.4.6 tələbləri əsas götürülməlidir. 8. Məqalənin sonundakı ədəbiyyat siyahısında son 5-10 ilin elmi məqalələrinə, monoqrafiyalarına və digər etibarlı mənbələrinə üstünlük verilməlidir. 9. Dərc olunduğu dildən əlavə başqa iki dildə məqalənin xülasəsi veril­ mə­ li­ ­ dir. Məqalənin müxtəlif dillərdə olan xülasələri bir-birinin eyni olmalı və məqalənin məzmununa uyğun olmalıdır. Məqalədə müəllifin və ya mü­ əlliflərin gəldiyi elmi nəticə, işin elmi yeniliyi, tətbiqi əhəmiyyəti və s.

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xülasədə yığcam şəkildə öz əksini tapmalıdır. Hər bir xülasədə məqa­ ­lə­ nin adı, müəllifin və ya müəlliflərin tam adı göstərilməlidir. 10. Hər bir məqalədə UOT indekslər və üç dildə açar sözlər (məqalənin və xülasələrin yazıldığı dillərdə) verilməlidir. 11. Hər bir məqalə redaksiya heyətinin rəyinə əsasən çap olunur. 12. Plagiatlıq faktı aşkar edilən məqalələr dərc olunmur.

Məqalələrin nəşri pulsuzdur. Əlyazmalar geri qaytarılmır.

Attention to the authors of papers! The publication requirements:

1. Papers for the journal of International «Art and culture problems» are published in Azerbaijani, Russian and English languages. 2. Papers are accepted via electron carrier and e-mail ([email protected]). 3. The amount of the papers should not be more 10 pages (A4), (font: Times New Roman - 13, interval: 1.5, from the left edge 3 cm, right edge 1.5 cm and 2 cm in the upper part and the lower part 2 cm). 4. In the article should be noted the author’s (s’) name and surname, scientific degree, scientific title and e-mail address (es). 5. At the end of the scientific article according to the nature of the paper and field of science should be given obviously the author’s (s’) research results, the scientific innovation of the study, the application importance, economic efficiency and so on. 6. There must be references to scientific sources connected with the subject of the paper. The list of references at the end of the article should be numbered in alphabetical order (for instance, [1] or [1, p.119]). If the reference refers to repeated elsewhere, then the referred literature should be indicated in the same number as previously. 7. Any reference to the literature list must be complete and accurate information. The bibliographic description of a reference should be based on its type (monographs, textbooks, scientific papers, etc.). Referring to materials or theses of scientific papers, symposia, conferences and other prestigious scientific events should be indicated the name of papers,

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reports or theses. While the bibliographic description of reference should be based on the requirements 10.2-10.4.6 of the section «Used literature» of the instruction which in force to the «Drafting rules of dissertations» of Higher Attestation Commission under President of Azerbaijan Republic. 8. On the list of reference at the end of the paper of the last 5-10 years’ scientific papers, monographs and other reliable sources will be prioritized. 9. In addition to the language of publication should be given summary of the paper in two other languages. Summaries of papers in different languages should be consistent with the content of the article and should be equal to each other. In the paper the research results, scientific innovation of the study, the application importance and so on should be reflected briefly by author or authors in summary. A summary of each paper should be given with the author or authors’ full name and as well as title of article. 10. Each article should be presented with UDC indexes and keywords in three languages (in languages of papers and summaries). 11. Each paper is published according to the opinion of the editorial board. 12. The papers are not published in plagiarism cases.

The publication of the papers is free of charge. Manuscripts will not be returned.

К сведению авторов статей! Требования к публикациям:

1. Статьи в международном журнале «Проблемы искусства и культу- ры» печатаются на азербайджанском, английском и русском языках. 2. Статьи принимаются на электронном носителе и по e-mail (mii_ [email protected]) 3. Объем статьи не должен превышать 10 страниц (А 4; шрифт Times New Roman – 13, интервал: 1,5, левый край – 3 см, правый край 1,5 см, сверху – 2 см, снизу – 2 см.). 4. В статье должны быть указаны имя и фамилия автора (авторов), ученая степень, ученое звание и электронные адреса.

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5. В конце научной статьи должно быть четко указано заключение автора (авторов) о научных результатах, научной новизне работы, ее практического значения, экономической выгоды и т.п. исходя из характера научной области и статьи. 6. В статье должны быть сноски на научные источники в соответ- ствии с темой. Список литературы, данный в конце статьи, должен быть пронумерован в алфавитном порядке (например, [1] или [1, с. 119]; сноски должны быть обозначены угловыми скобками). При повторной ссылке на научную литературу в другой части текста ссылаемый источник указывается прежним номером. 7. Информация о любой сноске, размещенной в списке литературы, должна быть полной и точной. Библиографическое описание ссы- лаемого источника должно быть дано в зависимости от его вида (монография, учебник, научная статья и т.д.). При ссылке на на- учные статьи, материалы или тезисы симпозиумов, конференций и других компетентных научных мероприятий, должно быть ука- зано название статьи, доклада либо тезиса. При библиографиче- ском описании необходимо руководствоваться пунктом 10.2-10.4.6 действующей инструкции «О порядках составления диссертаций» Высшей Аттестационной Комиссии при Президенте Азербайд- жанской Республики. 8. В списке литературы, помещенной в конце статьи, надо отдать предпочтение научным статьям, монографиям и другим компе- тентным источникам последних 5-10 лет. 9. Помимо языка написания, статьи должны иметь резюме на двух языках. Оба резюме должны быть абсолютно идентичными и соот- ветствовать тексту статьи. Научное выводы автора (авторов) в ста- тье, научная новизна работы, практическое значение и т.п. должны вкратце отражаться в резюме. В каждом резюме должны быть ука- заны название статьи, полное имя автора (авторов). 10. В каждой статье должны быть указаны УДК индексы и ключевые слова на трех языках (на языках статьи и двух резюме) 11. Каждая статья печатается решением редколлегии. 12. При обнаружении факта плагиата статьи не печатаются. Статьи печатаются бесплатно. Рукописи не возвращаются.

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