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European Journal of Arts № 3 2016 European Journal of Arts № 3 2016 «East West» Association for Advanced Studies and Higher Education GmbH Vienna 2016 European Journal of Arts Scientific journal № 3 2016 ISSN 2310-5666 Editor-in-chief Kubiak Antonina, Poland, Doctor of Philosophy in Art History International editorial board Izvekova Arina Nikolaevna, Russia, Doctor of Philosophy in Art History Karnitskaya Nadezhda Egorovna, Russia, Doctor of Philosophy in Art History Novaković Margareta, Croatia, Doctor of Philosophy in Art History Serebryakova Yulia Vladimirovna Ph.D. of Cultural studies Proofreading Kristin Theissen Cover design Andreas Vogel Additional design Stephan Friedman Editorial office European Science Review “East West” Association for Advanced Studies and Higher Education GmbH, Am Gestade 1 1010 Vienna, Austria Email: [email protected] Homepage: www.ew-a.org European Journal of Arts is an international, German/English/Russian language, peer-reviewed journal. It is published bimonthly with circulation of 1000 copies. The decisive criterion for accepting a manuscript for publication is scientific quality. All research articles published in this journal have undergone a rigorous peer review. Based on initial screening by the editors, each paper is anonymized and reviewed by at least two anonymous referees. Recommending the articles for publishing, the reviewers confirm that in their opinion the submitted article contains important or new scientific results. Instructions for authors Full instructions for manuscript preparation and submission can be found through the “East West” Association GmbH home page at: http://www.ew-a.org. Material disclaimer The opinions expressed in the conference proceedings do not necessarily reflect those of the «East West» Association for Advanced Studies and Higher Education GmbH, the editor, the editorial board, or the organization to which the authors are affiliated. East West Association GmbH is not responsible for the stylistic content of the article. The responsibility for the stylistic content lies on an author of an article. Included to the open access repositories: © «East West» Association for Advanced Studies and Higher Education GmbH All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of the Publisher. Typeset in Berling by Ziegler Buchdruckerei, Linz, Austria. Printed by «East West» Association for Advanced Studies and Higher Education GmbH, Vienna, Austria on acid-free paper. Study of art Section 1. Fine and applied arts and architecture Section 1. Fine and applied arts and architecture DOI: http://dx.doi.org/10.20534/EJA-16-3-4-8 Yunusova Nigar Gaiyur, Children’s Art School № 3 in Baku, The teacher in the “history of fine arts” and “arts and crafts” PhD student of Azerbaijan State Academy of Arts E‑mail: [email protected] The artistic – technical and historical features of jewelry art of the Qajars Period Abstract: The artistic – technical features of jewelry art in the Qajar Period are investigated and studied in the article. Reproductive material consisting of photos has been collected to comprehen- sively bring the subject to the attention of the audience. The analysis of jewelry used by the shahs in the same period is conducted. As well, the note on the examples of jewelry such as earrings, tiaras, hanging decorations, aigrette, brooches etc. and their artistic and technical features are given. In- novations brought to the Qajar jewelry and historical approach are also mentioned. The peak of the study is associated with “aigrette” – headdress belonging to the rule of the Qajar, Nasiraddin Shah. Keywords: Qajar, Jewelry, Nasiraddin shah, Aigrette, head ornament (decoration), gold, diamond. Юнус Нигяр, Диссертант Азербайджанской Государственной Художественной Академии. Преподавательница Детской Художественной Школы № 3 Член Союза художников Азербайджана Художник‑Искусствовед‑Эксперт Баку, Азербайджан Е‑mail: [email protected] Ювелирное искусство периода Каджаров Аннотация: В статье исследованы художественно-технические черты ювелирных изделий эпохи Каджаров. Для полного осмысления темы был собран репродуктивный фотографический материал и проведен анализ украшений используемых Шахами в свое время. В том числе показа- ны такие образцы как серьги, диадемы, свисающие украшения, эгрет, броши и т. д. и приведены их художественно-технические особенности. Также отмечен исторический подход и инновации приведенные к ювелирным изделиям Каджаров. Пик исследований связан непосредственно с головным украшением «эгрет», присущим правителю Каджаров Насиреддин шаху. Ключевые слова: Каджар, ювелирные изделия, Насиреддин шах, Эгрет, головное украше- ние, золото, бриллиант. 4 The artistic – technical and historical features of jewelry art of the Qajars Period Существовавшее с конца XVIII до начала Отличающееся великолепием и благород- ХХ века (1796–1925) государство Каджаров яв- ством ювелирное искусство XIX века более все- лялось сильным государством, управляемым азер- го известно эгретами. Эгрет – это головное укра- байджано-тюркской династией, обосновавшейся шение из птичьего перья, играющее роль короны в иранском Тегеране. и предназначенное как для женщин, так и муж- Как мы знаем, в изобразительном искусстве, го- чин. Эгреты носили шахи. Это украшение разме- воря «Каджары», подразумевают великолепие, ве- щали по центру чалмы или какого-либо другого личие, дворцовый стиль и оригинальность. В этом головного убора; эгрет был неотъемлемой ча- государстве сформировался так называемый «кад- стью шляп в шахском костюме. По материальной жарский стиль», который оставил неизгладимый и художественной ценности эгрета можно было след не только в истории, но и в мире искусства. Как определить социальный статус хозяина. Другими и в живописи, каджарский стиль проявился в одном словами, насколько дорогими металлами и камня- из видов декоративно-прикладного искусства – об- ми обрабатывался эгрет, настолько высоко оце- работке художественного металла – ювелирном нивались положение в обществе, материальный деле. Также как в живописи в ювелирном искус- и социальный статус его хозяина. Таким одним стве XIX века каджарский стиль имел характерные из самых красивых и необыкновенных ювелирных черты (например, присущее для миниатюрной жи- образцов, дошедшего до наших времен, является вописи особое решение изображения человеческих золотой эгрет (корона, прикрепляемая по типу фигур в величественных, богатых образах, с ясными булавки) правителя государства Каджаров в 19-м лицами, выразительно подчеркнутыми черной ту- веке Насиреддин-шаха Каджара (1831–1896). шью глазами и бровями, декоративностью и т. п.). Это загадочное головное украшение поистине Ювелирные изделия, созданные в каджарском сти- таит в себе много тайн; явно отличается от других ле, носились более всего правившими в те времена эгретов XIX века. Это отличие проявляет себя как ханами. Тогда для шахов и людей из высшего обще- в форме и содержании, так и с точки зрения ком- ства создавались разные украшения, обработанные позиционного решения и стиля. Мне хотелось бы драгоценными камнями и металлами. Некоторые остановиться на художественно-техническом из них создавались талантливыми мастерами для анализе этого уникального украшения, которое частных коллекций, другие же – для подношения подвигло меня затронуть настоящую тему. в дар. Интересно, что если в древние времена и в на- Принадлежащее Насиреддин-шаху Каджару чале средних веков ювелирные образцы создавались это ювелирное изделие отличается прежде всего в основном для женщин, то в рассматриваемый пе- своей формой в виде павлина и портретами (ме- риод они стали изготавливаться и для мужчин. От- дальонами) с бирюзой. Спереди форма эгрета метим, что ювелирное искусство периода Каджаров напоминает образ павлина, что является одним достигло своего расцвета в годы правления Фатх из вариантов стилизации. В нижней части спра- Али-шаха (сын Гусейнгулу-хана; 1797–1834), Му- ва и слева даны фигуры львов, а рядом с ними – хаммеда-шаха (внук Фатали-шаха Каджара; 1834– изображения меча и солнечного луча. Именно 1848) и Насреддин-шаха (сын Мухаммед-шаха Кад- эта деталь скрывает в себе несколько значений. жара; 1848–1896). Для каджарского ювелирного Схематическое изображение солнца показано искусства характерны изделия, инкрустированные таким образом, что оно напоминает раскрытые такими драгоценными металлами, как золото и пла- хвосты павлинов, размещенных с обеих сторон тина, и искусно украшенные камнями – бриллиан- головного убора. Композиция из конкретных фи- тами, изумрудами, сапфирами, жемчужинами, руби- гур, созданных соединением нескольких деталей, нами и бирюзой. С точки зрения стиля и техники, на таком ювелирном изделии могла возникнуть они изготавливались сугубо в каджарском стиле, только в воображении ювелиров эпохи Каджа- и каждое из них обладало ярким, величавым, бога- ров. На внутренней стороне короны арабски- тым и благородным видом. ми буквами нанесена эпиграфическая надпись. 5 Section 1. Fine and applied arts and architecture По-нашему мнению, этот нюанс является редким символизирует новую жизнь, новое начало. Эти новшеством в ювелирном искусстве головных символические металлические отводы прикре- украшений. Вообще, лев, солнце и павлин – это плены к расположенной в центре булавки круглой образы, характерные для изобразительного ис- форме из бирюзы, на конце каждого из отводов кусства Южного Азербайджана. Их можно уви- на камнях бирюзы методом резки
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