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 2 (72) Problems of Arts and Culture International scientific journal Проблемы искусства и культуры Международный научный журнал Bakı - 2020 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 (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 (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 (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 (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 73 Telman IBRAHIMOV PhD (Art Study), Associate Professor Institute of Architecture and Art of ANAS (Azerbaijan) [email protected] MONUMENT AL SCULPTURAL AR T OF CAUCASIAN ALBANIA Abstract. The paper is devoted to the appearance and progress of monumental sculpture in Caucasian Albania. The emergence of monumental sculptures of Albania happens on the period of the early Middle Ages (IV-VIII centuries).Memorial monuments of sculpture were mainly set up over the graves. There are sculptural monuments that played the role of religious idols. The monumental memorials of Caucasian Albania are mostly made of stone. The memorials are made in a conventionally stylistic manner and do not have certain portrait features. There is a certain canonization of these monuments. Distribution of monumental sculptural memorials of Caucasian Albania is connected with the “worshiping fathers” and the “worshiping ancestors” among the Turkic tribes inhabiting the territory of Caucasian Albania. Key woords: Caucasian Albania, monumental sculpture, nomads, Türks, memorials, Turkic Balbal, Stone statue Introduction. Archeological material and samples of material culture, compiled last years gives opportunity to declare that in Caucasian Albania plastic art existed in most ancient time and developed in medieval period [5, p. 61]. After Bronze age the next rise of monumental sculptural art coincide with Iron age, to be more exact, with Scythian period of in history of historical Azerbaijan. (VIII–VII centuries b.c.). Settling of Scythian tribes in territory between Kura and Araxes rivers in that epoch was marked by “father of history” Herodotus, who called this territory Scythia. The monuments and statues of that period are characterized by better working out of forms and details. In those statues concrete anthropological 3 N2 (72) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры features are seen more apparently. Totemic columnar cult statues of Bronze epoch gradually transform into heroized fathers of clan and tribe. The interpretation of the main material. The Hun culture, followed after Scythian one (III–VII millennium b.c.) also left it’s own mark in history of Azerbaijan. In that period here a great number of stone monumental statues were set in steppes to the north of Araxes. It wasn’t accidental event. It’s commonly known, that in III–VII centuries in Azerbaijan territory many important historical events took place. Later, those events played particular role in Azerbaijan history. That historical period was connected with presence of Hun, then Oghuz tribes in Azerbaijan. Oghuz tribes played decisive role in formation of ethnic constitution of Azerbaijani people. The ritual, connected with setting of statues in Azerbaijan territory is described circumstantially in works of Armenian, Georgian, Arabic (Arabian) authors, lived in VII–XI c. Albanian historian Movsēs Dasxurancị in his famous work “The History of Caucasian Albanians” emphasized the role and importance of those stone figures, erected in honor of most powerful warriors and commanders. In works of Movsēs Dasxurancị we can find very interesting description of funeral ritual, in honor of which statues were set. Those ceremonies were performed with special gravity. Here the dead wasn’t wailed only, in those ceremonies the acts were put on. In those acts the battles, in which deceased took part were performed, the guest danced and song. All those acts had to bring to mind the life and heroism of deceased brave warrior. Afterwards the stone statues, erected in honor of hero transformed into places of pilgrimage. The people took those places with respect and sympathy, protected them. Movsēs Dasxurancị wrote: “If somebody wanted to touch them or dishallow the sanctuary, will fall under the anger of God Tengri-khan himself” [16, p. 36]. The real prosperity of monumental stone sculpture coincide with Albanian period of Azerbaijan history. The analyses of great number of such statues let speak out the firm belief in succession of Albanian statues, because in them typological features of Scythian and Hun epoch are seen clearly. These sculptures are preserved well relatively, so this peculiarity gives opportunity to carry out artistic-semantic analyses of plastic mind of pagan statues culture bearers. The most part of those statues were found in villages Shafibeyli, Mollalar (Agdam region), Seyidsulan, Janyatag (Terter region), Shatyrly 4 İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N2 (72) (Barda region), Khynysly (Shamakhi region), Dubendi (Absheron) and many others. The middle size of these idols is 1,5 m, but some of them can be up to 3 meters. Sculptural art of ancient Albania was more abstract, their anthropomorphic aspect is presented weaker, ethnic features and portrait peculiarities are out thoroughly. From iconographic position these statues are menhirs of stele form, the human forms on face side are marked hardly. The sidepiece and the hinder part of statues aren’t worked up and saved their stele form. Generally the greater part of figures picture the men in prayerful pose, with arms across on the chest. All figures have threefold structure. In such structure the head, body frame, and bottom are divided by horizontal groove line. The statues were buried waist-deep and visually were praying figures, ingrown in ground. Active plastic tracing of sculpture front part and it’s full absence in back and posterior part of stele proves that statue wasn’t come round while cult rituals. Typological analyses of all monumental sculpture of ancient Albania demonstrated two main iconographical canons, basing on which all Albaninan statues are performed. The first kind of statues was widely spread in present territory of Terter region of Azerbaijan (village Seyidsulan). It’s also characterized by more realistic picturing. In these statues the eyes and eyebrow ridges are marked deeply, but the form of nose is hardly defined. The second iconographic kind is more characteristic for present Agdam region of Azerbaijan. In these statues the bottom and middle part are similar to statues found in Terter. In the same time the faces of figures are presented abstractly, only the nose is marked by small channel of V-form and the jaws are pictured very conditionally. In similar statues, found in Barda region (village Shatirli) the jaws aren’t worked out at all. Both kinds of Albanian statues were created in the same historical period by representatives of both “schools”. The making of such statues began just about the end of III c. C.E. and continued up to Arabian conquest of Albania and spreading of Islam here. Later, Islam religion proclaimed war to those