N4 (70)

İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

UOT 75.47

Fatima Suleymanova
National Museum of Azerbaijan Literature named
after Nizami Ganjavi of ANAS
(Azerbaijan)
[email protected]

NİZAMİ GANJAVİ AND WORLD CULTURE

IN THE CREATION OF OGTAY SADIGZADE

Abstract. O.Sadigzade is one of the coryphaeus artists who successfully

work in various fields of modern Azerbaijani fine art, who in his creative
practice was able to skillfully create the unity of the laws of realism and
modernity. His talent is immediately noticeable in various illustrations of world
classics, in the portraits of Azerbaijani writers and poets, in various portraits.
The images created by O.Sadigzade have a strong character, rich inner world,
warm feelings and full colors. His ability to represent compositional laws
and rules of academic drawing plays an important role in the high quality of
his images. The artist, who has gained fame as a master of portrait genre, has
made good use of the opportunities provided by this genre.
His interest in literature led him to create a series of works dedicated to the
personality of the genius master N.Ganjavi. The artist, who has been thinking
about the artwork for a long time, has resorted to a multifigured portrait
that he has never created of yet. The monumental series “Nizami and world
culture” consists of five interconnected boards. This magnificent portrait that
consists of five portraits is one of the greatest works of art in a portrait genre.
The painter skillfully created the images of great figures and thinkers, and
used a wide range of sources to create these images. Accurate and expressive
descriptions of images in the artistic solution of each composition included in
the series are of interest. This series, painted by the painter, is one of the most
reliable sources for exploring both eastern and western culture, the personality
and outlook of philosophers and public figures.
Key woords: Ogtay Sadigzade, Nizami Ganjavi, Nizami museum fine art,
museum studies

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İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры N4 (70)

Introduction. Ogtay, the first child of the Sadigzade family, was born
in 1921 in Khizi. Oktay’s mother Umgulsum khanum had excellent poetry
skills, and his father, Seyid Hussein, gained fame as one of the notable
prose-writer in our country. Seyid Hussein, one of the most enlightened
intellectuals of the time, was also an active participant in the Azerbaijani
press [7, p.6].
Despite growing up in the literary family, Ogtay, who has been interested
in painting since his childhood, entered the Art College in 1935. He was
educated with M.Abdullayev, B.Mirzazadeh, Abdulhalik, G.Seyfullayev,
one of the prominent figures of Azerbaijani painting [8, p.13]. His years
of study in the art school (1935–1939) were the years in which modern
Azerbaijani art was promoted by talented young people. At that time, these
talented young men who graduated from art school went directly to the
creative team and participated in art exhibitions with their first works.
So Sadigzade was one of those who came directly from the school to the
artists’ collective. In 1940, two of his works, “Walking” and “Farewell to
the Army,” were displayed at the Republican exhibition. “Farewell to the
Army”, this work, was sent to Moscow the same year and was exhibited at
an art exhibition there [7, p.7].
The interpretation of the main material. O.Sadigzade lost his both
parents at an early age and had to go through every single pain of his life. His
parents were declared “enemies of the people” because they were patriotic and
intelligent. In spite of all this, the difficult moral and material situation could
not detract from his love for the painting [5, p.17]. In the story “Between Two
Life”, written by his father, it is argued from farewell letter written by the
child to his father. The first sentence of the letter begins: “I know very well
that I have to respect the old fathers.” However, Ogtay’s father died at a young
age as a victim of the cruel regime. However, no regime has prevented Ogtay
from showing respect for his father. O.Sadigzade returned his childhood debt
and respect to his father, who left his family by drawing meaningful paintings
in his works [3, p. 333].
During his studies in painting painter had been trying to sought the benefit
from geniuses like Michelangelo and Rembrandt. Impressed by the work of
the great brush masters, adhering to the principles of Sadigzadeh, he wanted
to find his way through art through literary images. He engaged in numerous
illustrations of works of classics and portrayed images of Azerbaijani writers
and poets in various portraits [8, p.8-9].

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The artwork created by him is preserved not only in Azerbaijan, but also in
a global cultural center such as the Tretyakov Gallery. Also, the masterpieces
created by the master can be found in private collections in the several
countries such as Germany, USA, Israel, Canada, etc [ 1, p.13].
Growing up in literary environments from a very young age, Ogtay’s full
and unique works, which repeatedly read world classics, adorn the exposition
of the Azerbaijan National Literature Museum named after Nizami. The master
of the brush viewed the museum as the home of the genius N. Ganjavi and has
always been in communication since its foundation. In one of his interviews
with the artist, who prefers more portraits, he says: “… In general, it is very
difficult to revive historical and literary faces. There is no concrete photos. It
is not clear when and where they live. In addition to learning historical and
literary sources, you have to draw on the imagination” [4, p.56].
O.Sadigzade was sentenced to life in the Nizami Museum as a son of an
“enemy of the people” who had not been able to experience the joys of the
great poet Nizami’s works and was welcomed by the Art Council. Ogtay,
who lives in exile in Siberia, survived the art of painting, one of the main
propaganda tools of the Soviet state at that time. Sadigzade, the only person
had painting skills in the city where he was in exile, had been working as
an artist since 1944, writing political slogans, designing wallpapers, and
drawing portraits of leaders. His paintings include a portrait of Stalin, the
man who sent his parents into exile [9, p.116]. In one of his interviews, he
shared his bitter memories of the Altai land getting rid of the cold drilling
camp: “After the war, someone in the special department explained to me
that if you are wrote a letter from the Union of Artists of Azerbaijan and
told you they needed you, you could be free from this oppression. At that
time, our union was headed by Mursal Najafov, who had the Red Star
Order, who had gone through the war up to Yugoslavia. This appeal was
welcomed. In March 1946 I was given a certificate to return home from
exile” [2, p.13].
The decision to hold the 850th anniversary of Nizami at the international
level in 1991 posed a number of important challenges to the artists. According
to the decision, a number of artists have begun to create fine arts that reflect
Nizami’s personality and creativity. The then director of the Nizami Museum,
Doctor of Philology, Professor, Honored Scientist A.Hajiyev wrote about this:
“Our museum took an active part in the celebration of the 850th anniversary
of Nizami. For this purpose, the hall “Nizami and Nizami studies” was created

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in the museum. The hall needed new works for the design. For this I asked our
artists. In a short time, painting works were sent to the museum that reflected
Nizami’s creation by several painters. The works that were to be created were
intended for the exposition to be hung on the main wall of the central hall.
My suggestion to create a five-part panoramic epic work “Nizami Ganjavi
and world culture” was accepted by O.Sadigzade” [10, p.3]. Understanding
the responsibility and complexity of the creation of this work, A.Hajiyev said:
“To create this work, I needed to know not only Nizami’s creativity but also
world culture ... To create this immense and rich panorama, the artist had
to know both the eastern and western cultures, and to explore the lives and
creativity of 44 heroes from various sources” [10, p.3].
The artist, who has been thinking about the concept of the portrait for a
long time, prefers the multifaceted chart that he has never thought of before.
The artist himself said in this regard: “For the first time, I create such a
multifaceted composition. I have long wanted to create a work that reflects the
colorfulness of the Nizami’s world, the spiritual and inseparable connections
that stimulate and pervade it. I wanted people to look at this picture and feel
the invisible wires that have kept Nizami’s memory for centuries and tied it
with his predecessors” [11, p.3].
The monumental series “Nizami and world culture” consists of five
interconnected boards. It was painted on five canvas with oil paint. The
“Nizami and Azerbaijani culture” part of the series is 225x135 cm, and the
other four images are 215x100 cm [6].
The first work of the monumental series is called “The Thinkers of
Ancient Greece”. The indicator board depicts the ancient Greek philosophers
influencing the rise of the genius Nizami as a poet-philosopher. The artist
has mastered the private world of Greek philosophers with impressive paints,
precise and compact forms. In the composition there are 7 figures on the
background of Parthenon. Behind the figures is a statue of Athens in front of
Parthenon. The enthusiastic and dynamic life of the Greek nation, which is
considered the homeland of philosophy, was skillfully created by the artist. In
the center of the board are Socrates, Plato, Aristotle, Fales, and behind them
are Hermes and Apollo. Sadigzade has been able to accurately describe the
philosophical images of philosophers. Expressive images and color solutions
are one of the factors that enhance the expressiveness of the work.
In the indicator board “Middle Ages Eastern predecessors” there are seven
figures as in the other. In the painting, the characters are vivid and expressive,

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N4 (70) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

trying to add beauty to the work in different shades and colors. As we look at
the board, we see Firdovsi, Al-Farabi, Ibn Sina, Al-Biruni, Omar Khayyam,
Qurghani and Sana from the poets and thinkers of the East. While watching
the portrait, the spirit of medieval miniature is felt. Color was used skillfully
to create a poetic scene.
The third work, called “Continuers of Nizami” is considered a historical
portrait by the genre. The portrait depicts Nizami’s contemporaries and
world-famous successors who lived and created at different times. Accurate
and expressive portrayal of images in artistic solution of composition is one
of the nuances that draw attention. The composition depicts Amir Khosrov
Dahlavi, Abdurrahman Jami, Alishir Navai, B.Kashmiri, H.Abdullah and
other predecessors of poet. Sadigzade, who professionally portrays historical
figures with her powerful improvisation, has succeeded in uncovering the inner
world of the predecessors. Although at first glance there is a resemblance to
other portraits, the “Nizami’s Followers” chart differs in several ways. Unlike
the other, the figures here are relatively low in intensity, and cold colors are
relatively high.
The composition “Nizami and Western Literature” portrays the masters of
the Western cultural world – Dante, Shakespeare, Höte, A.S.Pushkin, Byron,
Volter and Gothi. With its full colorful color scheme, the artist managed to get
his paintings out of the basic color concept with his chosen technique. Most of
the personalities in the composition have lived in different ages. The picture
first shows Dante (1256–1321) and Shakespeare (1564–1616), followed by
Volter (1694–1778) and Gotsin (1720-1806), followed by Höte (1749–1832)
and Byron (1788–1824) at the end of A.S.Pushkin’s (1799–1837) illustrates
the arrangement of images in chronological order. In the composition, a
prominent representative of Russian literature AS Pushkin, who attentively
observes his predecessors, is described as a symbol of modern history. The
color technique of the work, its clear visualization and the interpretation of
the theme are valuable.
The last portrait, entitled “Nizami and Azerbaijani Literature”, which is
different from the others in the format of the series, is the culmination of
the top five. Due to the large number of historical figures depicted, the size
is larger than the other 4 portraits. The portrayal of N. Ganjavi himself here
also increases the power of the work. Rich landscape images were preferred
in the portrait to enhance the expressiveness of the composition. The portret
shows the great Nizami and his heirs – M.Ganjavi, A.Nakhchivani, Khagani,

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Khatai, M.Fuzuli, A.Tabrizi, Abubakr Ibn Khosrov, N.Tusi, U.Hajibeyov,

S.Vurgun, M.S.Ordubadi and People’s Artist G.Khalikov. The central figure
of the composition is undoubtedly the striking portrait of N.Ganjavi. The
portrayal of Nizami’s head and chest above Goygol’s view in the air gives
the figure greatness and grandeur. The portrait of M.Ganjavi, portrayed in
completed and full form, is the only female figure in the top five. The artist,
well-known to the Azerbaijani culture, did not forget about U.Hajibeyov, who
first compiled his first romance in Nizami’s poetry, and G.Khalykov, who first
created the canonical image of a great poet. He has skillfully placed the great
portraits of Nizami’s contemporary heirs among them.
Conclusion. O.Sadigzade, who faithfully adheres to the laws of the
Azerbaijani miniature school, wanted to embody the outward and inner
beauty of humankind while creating the series “Nizami and World Culture”.
Before describing the colorful charts that spanned more than 6 years in this
complex and responsible work, he has collected detailed material on ancient
architecture, art and clothing culture. The image captures 43 figures of
philosophers, musicians, poets, and artists from antiquity and renaissance
to the twentieth century and Nizami is surrounded by them. To maintain
perfection on the mysterious monumental boards created by the brush master,
he has placed 7 figures in each of the two edges, and the Nizami figure,
surrounded by 15 colleagues in the center. Each of the compositions reflects
the mutual cohesion of Eastern and Western cultures, the influence of Eastern
and Western thinkers on Nizami’s creativity, and the immortality of the works
of the genius poet.

REFERENCE:
1. Ağasıyeva, S. Milli təsvir sənətinin görkəmli siması // Mədəniyyət. –
2016, 13 aprel. – s. 13.
2. Füzuli və Şuşalı qız məni yaman yandırır // Zaman. – 2011, 12-13 aprel.
– s. 13.
3. Hüseynov, R. Söz heykəli / R.Hüseynov. – Bakı: Elm və Təhsil, - 2012.
-816 s. şəkilli.
4. Qafarzadə, R. Oqtay Sadıqzadə yaradıcılığında ədəbi simalar silsiləsi // -
Bakı: Mədəni həyat, - 2012. №.5, - s. 56-60.
5. Quliyev, Ə. Azərbaycan təsviri sənətinin tanınmış siması – Oqtay
Sadıqzadə // 525-ci qəzet. – 2016, 6 avqust. – s. 17.

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N4 (70) İncəsənət və mədəniyyət problemləri / Problems of Arts and Culture / Проблемы искусства и культуры

6. N. Gəncəvi adına Azərbaycan Ədəbiyyatı muzeyinin incəsənət fondu /

Kataloq, - Bakı: Şərq-Qərb, - 1999. 253 s.
7. Nəcəfov, M. Oqtay Sadıqzadə / M.Nəcəfov. - Bakı: Azərnəşr, - 1968. – 31 s.
8. Oqtay Sadıqzadə [İzomaterial]: rəngkarlıq, qrafika / lay. rəhb. Ç. Fərzəli­
yev; mətnin müəl. G.Qacar; ing. dilinə tərc. İ.Peart, S.İbrahimova,
Ə.Məlikova - Bakı: Sərvət, - 2013. - 104 s.
9. Taleyin təsviri, ömrün rəngləri // - Bakı: Azərbaycan qadını, - 2013. Qış,
- s. 113-122.
10. Гаджиев, А. Он изучил жизнь и творчество каждого из 44 своих
персонажей // Бакинский Рабочий. – 1999, 26 июня. – с. 3.
11. Мухина, З. Презентация цикла картин художника Огтая Садыхзаде //
Бакинский Рабочий. - 1991, 27 апрель. – с. 3.

Fatima Süleymanova (Azərbaycan)

Oqtay Sadıqzadə yaradıcılığında Nizami Gəncəvi və dünya mədəniyyəti
O.Sadıqzadə müasir Azərbaycan təsviri sənətinin müxtəlif sahələrində
müvəffəqiyyətlə işləyən, öz yaradıcılıq təscrübəsində realizm və mü-
asirlik qanunlarının vəhdətini məharətlə yaratmağa nail olan korifey
rəngkarlarımızdandır. Onun istedadı dünya klassiklərinin əsərlərinə çəkdiyi
müxtəlif illüstrasiyalarda, Azərbaycan yazıçı və şairlərinin obrazlarında,
müxtəlif portretlərdə dərhal nəzərə çarpır. O.Sadıqzadənin yaratdığı obrazlar
güclü xarakterə, zəngin daxili aləmə, səmimi duyğulara və dolğun koloritə
malikdir. Təsvirlərinin yüksək ifadə qabiliyyətinə sahib olmasında kompo-
zisiya qanunlarını, akademik rəsm qaydalarını mükəmməl formada bilməsi
xüsusi rola sahibdir. Portret janrının ustası kimi şöhrət qazanmış sənətkar bu
janrın verdiyi imkanlardan məharətlə yararlanmışdır.
Ədəbiyyata olan maraq firça ustasının dahi N.Gəncəvinin şəxsiyyətinə
həsr olunmuş silsilə əsərlər yaratmasına səbəb olmuşdur. Yaradacağı təsvir
haqqında uzun müddət düşünən rəssam indiyədək düşündüyü, lakin yaratma-
dığı çoxfiqurlu tabloya müraciət etmişdir. “Nizami və dünya mədəniyyəti”
adlanan monumental silsilə əsər bir-biri ilə əlaqəli beş lövhədən ibarətdir.
Beş tablodan ibarət bu əzəmətli əsər rəssamın portret janrında yaratdığı ən
möhtəşəm sənət əsərlərindəndir. Rəngkar bu təsvirləri yaradarkən külli miq-
darda mənbələrdən yararlanmış, dünya miqyasında tanınmış böyük şəxslərin,
mütəfəkkirlərin obrazlarını ustalıqla yaratmışdır. Silsiləyə daxil olan hər bir
kompozisiyanın bədii həllində obrazların dəqiq və ekspressiv formada təsviri

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diqqəti cəlb edən nüanslardandır. Rəngkarın təsvir etdiyi bu silsilə əsər həm
şərq, həm də qərb mədəniyyətini, filosof və ictimai xadimlərin şəxsiyyətini,
dünyagörüşünü öyrənmək üçün ən etibarlı mənbələrdəndir.
Açar sözlər: Oqtay Sadıqzadə, Nizami Gəncəvi, Nizami muzeyi, təsviri
sənət, muzeyşünaslıq

Фатима Сулейманова (Азербайджан)

Низами Гянджеви и мировая культура в творчестве
Октая Садыхзаде
О.Садыхзаде – один из выдающихся живописцев работавший в раз-
личных областях современного азербайджанского изобразительного ис-
кусства, успешно создавший в своей творческой практике единство ре-
ализма и современности. Талант великого художника просматривается в
иллюстрациях созданных к произведениям разных мировых классиков, а
также в портретах азербайджанских поэтов и писателей. Каждый образ
созданный О.Садыхзаде, имеет сильный характер, богатый внутренний
мир, и наполнен теплыми чувствами и колоритом. Способность выражать
в своих произведениях высокий уровень мастерства, он применяет ком-
позиционные приёмы и знания основ академического рисунка сыграли
важную роль. О.Садыхзаде, получивший известность как мастер портрет-
ного жанра, искусно использовал возможности, предоставляемые этим
жанром.
Интерес к литературе привел художника к созданию ряду работ, по-
священных личности гениального поэта Низами Гянджеви. Художник,
долго рассуждавщий, но не решавшийся на создание определенного про-
изведения, пишет многофигурную композицию. Монументальная серия
«Низами и мировая культура» состоит из пяти взаимосвязанных картин.
Эта великолепная работа из пяти композиций является одной из самых
великолепных работ художника в жанре портрета. Для создания образов
великих деятелей и мыслителей, художник исследовал и изучил огромное
количество самых разных источников. Большой интерес представляют.
точное и выразительное написание каждой композиции в художествен-
ном решении, входящих в эту серию.
Ключевые слова: Октай Садыхзаде, Низами Гянджеви, музей Низа-
ми, изобразительное искусство, музееведение

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