The development of fine arts in XIX century and first half of XX century

The fine arts of Azerbaijan presented a unity with the applied art and architecture in the Middle Ages. Monumental wall pictures in Shaki, Shusha, Guba, Ordubad, Lahij and other towns and settlements were closely associated with popular creative traditions. Wall pictures in Shaki khans palace gained particular fame. These pictures, created by Abbasgulu, Usta Ganbar, Garabagi, Alili Gulu, Gurban Ali, Shukur and other masters in XVIII-XIX , stand out for their thematic richness and multiple colors of the decorative elements. Colorful and bright pictures, stylized ornaments, pictures of people, animals and birds, multifigure pictures, describing war and hunting scenes, replace each other in internal salons and rooms of the palace. You can see architecture monuments of Baku, Shusha, Iravan and other towns on the works of Russian painters G.G.Gagarin and V.V.Vereshagin, visited Azerbaijan in XIX century. The strong traditions of Azerbaijani monumental painting were continued on the walls of the Sardar palace in Yerevan (the palace was destroyed in XX century, 4 large portraits, painted by Mirza Gadijm Iravani on the walls of the palace , was destructed) and some houses in Shusha.. Discovery of easel painting is related with Mirza Gadim Iravani’s name. He created perfect artistic portraits as “Dancer”, “Darvish”, “Wrestler”, “Rider”.

Mir Mohsun Navvab, well-known as talented poet, musical theorist and calligrapher in Azerbaijan culture history, was also engaged in painting and mosaic decoration. Motives of nature, pictures of flowers, birds occupy important place in his works. Lanscapes, pictures of flowers and decorative applied art patterns by poetess Khrshidbanu Natavan draw attention as well.

Realist tendency strengthen in Azerbaijan fine art, new artistic kinds and genres appeared in connection with annexation of North Azerbaijan to Russia in early XIX century. Magazines like “Molla Nasraddin”, as well as satiric graphic and illustration genres appeared.. Painters of the magazine “Molla Nasraddin” O.Shmerling, I.Rotter, A.Azimzade and Kh.Musayev were engaged in graphic art, conforming to public-political problems of that time. A.Azimzade, the founder of Azerbaijan satiric graphic, made sharp caricatures, cartoons, exposing public inequality, ignorance, fanaticism, tsar oppression. Famous pictures series “Hundred types”, watercolors, devoted to woman freedom, atheism and political motives, differs with actuality and national color. Illustrations, drawn by A.Azimzade to “Hopopnama” by M.A.Sabir in1914, are one of his most successful works.

“Ilanli mountain under moonlight”, “When the Sun sets”, “Spring” landscapes, “Refugees” series, including portraits of homeless people, compositions like “Matchmaking”, “Wedding”, as well as artistic design and cloth sketch to plays “Deads” (J.Mammadguluzade), “Hadji Gara” (M.F.Akhundzade), “Pari-jadu” (A.Hagverdiyev), staged in Nakhichevan theatre in 1910s, by B.Kangarli, one of the founders of Azerbaijan realist easel painting, are valuable examples of Azerbaijan painting.

State museum “Istiglal” (Independence- 1919), national symbols- state emblem and flag were established, as well as measures on protection and restoration of historical monuments were taken in this period. Alibay Huseynzade, famous publisher of magazine “Fyuzat”, philosopher, journalist and painters created such works as “Bibiheybat” mosque, “Sheykhulislam’s portrait”

70-year soviet government established in Azerbaijan in 1920. Culture formation and development of new styled fine art began in the country. The first school of arts was opened in Baku (1920), new kinds and genres of fine art appeared.

G.Khaligov, I.Akhundov, A.Hadjiyev, M.A.Vlasov, K.Kazimzade, A.Mammadov and other painters worked in graphic along with A.Azimzade in 1930s. They painted books by Azerbaijan and foreign writes, made political posters on different actual subjects. Modern easel painting was related with activity of young painters, graduated Azerbaijan State School of Arts in 1920s. The first creation exhibition of Azerbaijan Young Painters Society (1928), the exhibition, organized by Azerbaijan Revolutionary Fine Art Union in 1930s had success. Works by S.Salamzade, G.Khal?gov, A.Rzaquliyev and other painters, devoted to up-to-date subjects occupied important place in the first exhibition, organized in Baku.and Moscow. Azerbaijan painters’ organizational comitee was established in 1932. Some achievements were gained in painting. “Vintage” by S.Sharifzade, “A.Azimzade’s portrait” by H.Hagverdiyev, “Nizami Gandjavi’s portrait” by G.Khal?gov, housing and historical tableaus by M.Abdullayev, B.Mirzazade, B.Aliyev, S.Bahlulzade and K.Khanlarov draw attention with color richness, color harmony.

Some monuments were built, national sculptors developed in connection with appearance of Azerbijan modern profession sculpture. Statues of M.A.Sabir, M.F.Akhundzade and others, decorative monuments, portraits and busts were created by sculptors I.Guliyev, S.D.Erzya, Y.R.Tripolskaya, P.V.Sabsay and others in 1920-1930s. F.Abdurrahmaniov, one of the founder of soviet sculpture, created busts and portraits of Azerbaijan literature and culture workers (A.Hagverdiyev, M.F.Akhundzade, U.Hadjibayov, A.Zeynall? and others ), his first monumental work “Fuzuli” statue (1939, Azerbaijan Literature Museum named after Nizami) in 1930s. Decorative statues and portraits, statue of M.P.Vagif (1939-40, Azerbaijan Literature Museum named after Nizami) by sculptor J.Garyaghdi are valuable examples of Azerbaijan sculpture of XX century.

The first Azerbaijan painters’ congress was held in 1940.

Political posters abd satiric graphic occupied main place in Azerbaijan painters’ creation of the Second World War. A.Azimzade, G.Xal?gov, I.Akhundov, A.Hadj?yev, S.Sharifzade and others took important part in the creation of political caricatures.

Fine arts in the second half of XX century

The stage of artistic perfection of Azerbaijani fine arts began the World War II in the 1950s. The holding of exhibitions played a particular role in this development.

The wide and multicolored panorama of the republic was portrayed on the tableaus by M.Abdullayev, the full member of the USSR Academy of Arts. Lyrical scenes of workmen and housing were given in “The Evening”, “The Mingachevir Lights”, “In the Steppes of Azerbaijan”, “A Joy” and other works by the painter. M.Abdullayev was awarded with the International Nehru Prize in 1970. His creative activity was appreciated with the orders of Glory (1997) and Independence .

The heroic enthusiasm and romanticism of that time, the greatness of artificial islands in the Caspian sea are reflected in the tableaus “Workers Come Back From Duty”, “The Morning Train”, “Absheron Women”, “A New Sea” by popular painter T.Salahov, the full-right member of the USSR Academy of Arts. “Composer Gara Garayev’s Portrait”, created by T.Salahov, is one of the classical examples of the portrait art. His tableaus, landscapes and still lives, devoted to the life of foreign states and “Composer Shostakovich’s portrait ” are the best works of the modern Azerbaijani painting. The painter also created the portrait of our national leader Heydar Aliyev. T.Salahov was awarded with Independence order for services in the development of Azerbaijan fine art.

Contemporaries’ characters and nature of native land are pictured with colorful decorative paints in works by T.Narimanbekov, owning original creation. Optimism is typical for “Happiness”, “Joy”, “Abundance of land”, “Market” and other his tableaus, still lives and landscapes. His improvisation ability is well seen in tableaus and decors like “When we remember Paris”, “Beethoven’s world”. T.Narimanbayov’s creation, based on synthesis of national and international traditions, is world famous. “Paddy sowers”, “Setting on the mountains” by N.Abdurrahmanov, “Thinking of tomorrow”, “Life”, “My Azerbaijan”, portraits of poet Aliagha Vahid, composer A.Malikov by A.Jafarov draw attention with color richness.

Portraits of working people, culture and fine art workers (singer Z.Khanlarova, film director. Sh.Badalbayli), landscapes and still lives pictured in B.Mirzazade’s creation. Subjects like labor, industry, reflected on the tableaus of B.Aliyev, L.Feyzullayev, A.Mammadov, A.Verdiyev Working people and housing scenes predominate in the creation of Kh.Safarova, H.Mammadov, G.Seyfullayev, Abdulkhalig, A.Abdullayev, H.Hagverdiyev, D.Kazimov, C.Rustamov, K.Khanlarov, T.Shikhaliyev, A.Mehdiyev, M.Abbasov, F.Aghayev, S.Manafova and others while nation’s historical past, traditions, war and peace subjects prevail in the works by E.Rzaguliyev, V.Narimanbayov, T.Sad?gzade, A.Husenyov, K.Nadjafzade and others. S.Salamzade, T.Taghiyev, V.Samadova, Sh.Sharifzade, O.Sadigzade, Nadjafgulu, A.Karimov, G.Mustafayeva, O.Aghababayev, H.Zeynalov, H.Karimov, S.Mammadov, Ch.Farzaliyev and others particularly distinguished in portrait genre.

Beauties of Azerbaijan nature reflected on tableaus “Way leading to dog-violet”, “Native plains”, “Longing for land”, “Tears of Kapaz” etc. by popular painter S.Bahlulzade. N.Gasimov, K.Khanlarov, M.Taghiyev, S.Hagverdiyev, T.Javadov, F.Khalilov, B.Maratli, N.Rzayev, A.Asgarov, U.Hagverdiyev and other painters created original tableaus in landscape genre.

Tableaus by F.Khalilov, devoted to Absheron nature, distinguished in respect to perceiving of life beauty, philosophical meaning.

Mythological notion presents synthesis with up-to-date painting research in works by J.Mirdjavadov, N.Rahmanov, K.Ahmadov, G.Yunusov, S.Veysov, A.Ibrahimov, I.Mammadov, S.Mirzazade, F.Hashimov, F.Gulamov, A.Samadov and others.

Development of theater-decoration art is related with scenic embodiment of Azerbaijan operas, ballets, drams and musical comedies. Cloth sketches, made by A.Azimzade for some theatre spectacles, artistic design, made by R.Mustafayev for drams, operas and ballets like “Deseaseds” in 1920-30-s (J.Mammadguluzade), “Rebellion” (D.Furmanov), “Blacksmith Gava” (Sh.Sami), “Sevil”, “Bride of fire”, “In 1905″ (J.Jabbarli), “Sheyx Sanan” (H.Javid), “Collapsing hearth” (A.Hagverdiyev), “Shah Ismayil” (M.Magomayev), “Arsin mal alan”, “Leyli and Madjnun”, “Koroghlu” (U.Hadjibayov), “Ashug Garib” (Z.Hadjibayov), “Swan lake” (P.Chaykovski) etc. occupy important place in the development of Azerbaijan theatre-decoration art. Artistic design of operas “Leyli and Mecnun” (U.Hadjibayov), “Sevil” by I.Seyidova (F.Amirov), “Koroghlu” (U.Hadjibayov), “Human fate” (I.I.Dzerjinski), “Bahadur and Sona” (S.Alasgarov), balets “Gulshan” (S.Hadjibayov), “Nigella” (A.Abbasov) by A.Almaszade , N.Fatullayev “The city of the East” (A.Mammadkhanli), “Otello” (V.Shakespeare), “Vaqif” (S.Vurghun), “Song left on mountains” (I.Afandiyev) by A.Fataliyev, “Faded flowers” (J.Jabbarli), “Sheykh Sanan” (H.Javid) by I.Akhundov “Javanshir” (M.Huseyn), “Peasant’s daughter” (M.Ibrahimov) by S.Sharifzade and other drams draw attention.

Tendency toward novelty strengthened in scenic design, painters attached significance importance to sharpness, laconism and symbolical picture means since 1960s. The first success in this sphere belonged to T.Salahov in plays “Antonio and Cleopatra”, “Hamlet” (V.Shakespeare), “Aydin” (J.Jabbarli), particularly in opera “Koroghlu” (with A.Fataliyev). M.Abdullayev made scenic design of operas “Leyli and Madjnun”, “Koroghlu” (U.Hadjibayov) and ballet “Chitra” (Niyazi) with bright and multi-colored. “Gobustan shadows” (F.Garayev), “Seven beauties ” (G.Garayev), “Nasimi epos”, “1001 nights” (F.Amirov) are distinguished with romantic style design, made by T.Narimanbayov. B.Afganli, H.Mustafayev, S.M.Fefimenko, Y.A.Toropov, A.Abbasov, E.Aslanov, B.Afandiyev, M.Aliyev, A.Seyidov, E.Mammadov, S.Hagverdiyeva, F.Ahmadov, G.Mammadov, F.A.Khalilov, F.Gafarov and other painters took important part in the theatre-decoration art, while J.Azimov, K.Nadjafzade, N.Zeynalov, F.Bagirov, R.Ismayilov, M.Aghabayov, N.Baykishiyev and others had great services in film art.

New development stage of monumental and easel sculpture began in Azerbaijan after the Second World War. Monuments of N.Gandjavi in Gandja (1946; the USSR State Prize, 1947) and in Baku (1949) were important stage in the creation of F.Abdurrahmanov, the associated member of the USSR Academy of Arts. His monuments in Baku, as “Free woman” (1960), S.Vurghun (1961), Soviet Union Hero Mehdi Huseynzade (1973), in Dushanba poet Rudaki (1964, the USSR Academy of Arts Golden Prize) are the most successful examples of Azerbaijan monumental sculpture. Master of monumental sculpture P.V.Sabsay, ful member of the USSR Academy of Arts, create a gallery of working people, science and culture workers (“Oil industry worker M.P.Kaverochkin”, “Painter S.Bahlulzade”, “Oil industry worker Babayev”, “Writer S.Rahimov”, S.Vurghun’s portrait for his flat-museum). “A.S.Pushkin’s portrait” (“Elegiya”) is one of his perfect works.

J.Garyaghdi’s monumental decorative sculpture works draw attention with artistic expressiveness and dynamism.. Statues of M.A.Sabir (1958), N.Narimanov (1972), monument of twice the Soviet Union Hero general H.Aslanov (1983, Lankaran) are valuable examples of Azerbaijan sculpture.

Joint monument “Fuzuli” (1962, Baku), created by full member of the USSR Academy of Arts O.Eldarov and associated member of The USSR Academy of Arts T.Mammadov, is one of the perfect, plastic art examples. T.Mammadov’s monuments U.Hadjibayov (1962), M.Azizbayov (1977), Nasimi (1979; with I.Zeynalovla ) are the best patterns of Azerbaijan sculpture.

O.Eldarov got synthesis of sculpture and architecture in the monuments “Kh.Natavan” (1960), “M.Magomayev” (1987), H.B.Zardabi (1973; Zardab), “to 77th Azerbaijan division” (1975, Sapun-Qora, Sevastopol) and “H.Cavid” (1993, Baku). Laconism and national color are typical for his compositions and portraits as “Oil industry workers” (1963), “S.Bahlulzade’s portrait” (1966), “Four seasons of life” (1974).

The bust of Azerbaijan people’s national leader Heydar Aliyev in Nakhichevan, marmoreal composition “Ellegiya” (1997), perpetuating the memory of well known oculist Zarifa Aliyeva, monument set to Turkish scientist I.Doghramadj in Bilkand (2002) are some of his new successes. O. Eldarov was awarded with Independence order (1997) and To The Worthy medal of the Russia Federation (2002) for services in the development of Azerbaijan sculpture.

Famous philanthropist Hadji Zeynalabdin Taghiyev’s bust (in his flat, monument of well known stateman and poet Shah Ismayil (Baku-1993) are some of the estimable works of sculptor I.Zeynalov. F.Nadjafov (“Maternity”, “Oldest doctor”), monumental sculptor F.Salayev (“S.Yesenin”), A.Asgarov (“Academic Y.Mammadaliyev”), N.Aliyev (“A.Vahid”) who display interest in modern forms demonstrated plastic form variety of sculpture. M.Mirgasimov’s monuments like J.Mammadguluzade (1974; Nakhichivan), J.Jabbarli (1982; Baku) and “Ukhuru” (“Freedom”), “Oil industry worker”, “Khazri” are some of the achievements of Azerbaijan sculpture. Azerbaijan sculptors made outstanding contribution to national sculpture with successful memorial composition Honorary alley in Baku, where well known public and culture workers were buried.

Setting monuments to genius Nizami in Dashkand and St.Petersburg (2002), “Dada Gorgud” in Brussels (2004) are some of new successes. Talented woman sculptors H.Abdullayeva, E.Huseynova, M.Rzayeva, Z.Aliverdiyeva praised youth, beauty and maternity in their works. Novelty, national traditions reflected on the monumental works by E.Shamilov, G.Sudjaddinov, A.Mustafayev, F.Salayev, A.Salikov. F.Nadjafov, F.Bakikhanov, A.Gaziyev, M.Rustamov, K.Alakbarov, A.Mirzayev, M.Salahov, A.Rustamov, H.Musayev, V.Sharifov, G.Babayev, Sh.Sharifov, T. and E.Zeynalov brothers, A.Asgarov, Kh.Ahmadov, Z.Isgandarov, H.Hagverdiyev, S.Zakiri, N.Zeynalov and others attach particular importance to novelty, emotionality of plastic form in monumental decorative works and portraits.

Subject, genre, artistic style researches take deciding role in the development of Azerbaijan graphic art. Works series were created in the easel graphic. Linoleum engraving and painting series “In our Caspian sea” (1953-60), “Sumqayit-Rustavi” (1962), “My sisters” (1965-82) by M.Rahmanzade, devoted to labor and housing subjects differ with national peculiarity. These features are typical also for illustrations, painted by the painter to Nizami, Fuzuli, Heyran khanim, M.S.Ordubadi, A.Jafarzade and others. Linoleum engraving series “Old Baku”, “Carpet-makers” by A.Rzaguliyev, “Gobustan”, “Henna” by R.Babayev distinguished with real scenes of popular housing, expressive perfectness.

Y.Huseynov’s book design particularly influences on easel graphic and painting. His colored linoleum paintings “In the expanse of the Caspian sea”, works “Henna”, “Land of flames”, “Caspian fishermen” are some of successes of Azerbaijan graphic art.

Linoleum paintings, illustrations, etching and picture series of A.Hadjiyev, R.Mehdiyev, A.A.Mammadov, E.Aslanov, C.Mufidzade, N.Babayev, B.Hadjiyeva and others distinguish with character contemporaneity. Original pisture and composition harmony, individual style are typical for creation of representatives of middle age generation such as A.Huseynov, A.Rustamov, A.Alasgarov, A.Salimov, R.Huseynov.

G.Khaligov, I.Akhundov, K.Kazimzade, A.Hadjiyev and others painted interesting illustrations to classic Azerbaijan literature and folk patterns, particularly works by Nizami and Khagani, M.Abdullayev “Kitabi-Dada Gorgud” boys (parts), poem “Leyli and Madjnun” by Fuzuli, “Shamo” by S.Rahimov.

Development of modern satiric graphic is mainly related with magazine “Kirpi” (1952) (Nadjafgulu, G.Khaligov, I.Akhundov, K.Kazimzade, S.Sharifzade, H.Hagverdiyev and others).

Caricatures by Z.Karimbayli, A.Guliyev, R.Gadimov, A.Zeynalov and other painters occupy significance place in the development of satiric genre.

New stage began in the development of national culture, as well as fine art in the independence conditions of the Azerbaijan Republic in 1990s. State care for fine art development strengthened, creation process obtained wide scope. Some impellent factors of culture workers’ level raising and artistic researches activating are presentation of honorary titles, Independence and Glory orders, presidential pension, Sultan Mahammad and Humay prizes.

Artistic perfection stage of Azerbaijan fine art started, its achievements became famous beyond the bounds of the country as well.

Azerbaijani miniatures

There were wonderful traditions in the different kinds of painting, particularly portraying human characters in the Middle Ages when Islam dogmas were dominating. This is evidenced by the development of the miniature art in that period.

The miniature painting in Azerbaijan provided a significant contribution into the cultures of the Near and Far East. It occupies a special place in the history of world fine arts.

The history of Azerbaijani miniature paintings, which first appeared in the form of book illustration is not determined exactly. Nevertheless, stylistic and artistic peculiarities of miniatures, painted by Abdulmomin Mahammad al-Khoyi for manuscript “Varga and Gulsha” in early XIII century (Topkapi museum, Istanbul), show that they are based on certain traditions of the miniature paintings, which existed since the ancient times. Miniatures, painted for “Varga and Gulsha”, are considered some of the ancient patterns of this art not only in Azerbaijan, but in the Near and Far East.

Calligraphy and miniature speedily spread in Maragha, Tabriz and other towns of Azerbaijan, Tabriz turned into powerful center of artistic creation, book art, calligraphy and miniature painting in XIII-XIV centuries. East. painters, profited by Chinese and Uigurian art, tried to adapt Far East nations’ picture forms and expression means with local traditions – superficial-and-decorative forms.

Tabriz masters created artistic style of successful graphic and painting styles synthesis in the middles of XIV century. Development of this new style reflected on the miniatures of well known manuscript “Great Tabriz Shahname” (a book praising shahs) or “Demott Shahname” of 1340-1350s. The Miniatures, painted by famous painters of that time Ahmad Musa and Shammsaddin, are keeping in some of world museums and libraries. Only 58 miniatures of these manuscripts are known. Researchers highly appreciated the development of Tabriz miniature school of that time, particularly illustrations of “Demott Shahname”. French art critic Ostash de Lorey wites: “miniature art has never been so sublime, original and far from academism”.

Artictic style peculiarities of Azerbaijan miniature art much more improved in early XV century. Style, artistic quality of pictures, painted by genius painter Abd-al-Khayin for poem “Khosrov and Shirin” by Nizami Gandjavi (1405-10, Frir gallery, Washington), “Divan” (selected poems) by the last Jalair ruler Sultan Ahmad (1405-10, Frir gallery, Washington) and illustrations, painted by calligrapher Jafar Tabrizi for “Mehr and Mushtari” by Assar Tabrizi (1419) testify perfection of Tabriz school.

Tabriz had been sublime art center, providing the Near and Far East towns with talented masters, for long time since early XV century. Famous German art critic F.Shults called Tabriz “mother school” (“Mutter Schule”), had great impact on miniature art of neighbor Eastern states. Miniature art began to develop in Shamakhi and Baku under the influence of Tabriz school in XV century. Illustrations, painted for “Anthology of Eastern poesy ” or “Shamakhi anthology” (1468, British museum, London) and other manuscripts, portraits with one and two figures by Abdulbagi Bakuvi (“Mehtar”, “Two emirs”; Topgapi museum, Istanbul) are some of the best miniature patterns of Shamakhi and Baku painters.

New raising period of Tabriz miniature art late XV century. 9 miniatures of early XVI century, painted for Istanbul “Khamsa”, written for Sultan Yaqub in 1481 and completed in the period of Shah Ismay?l I, principally differ from the miniatures of the same subject and considered more valuable, for figurative expression means, complicate composition and grandiloquent decorativeness, color richness (“Khosrov looks at Shirin in her swimming “, “Isgandar and Dara”, “Isgandar and herdsman”, “Isgandar in Nushaba’s palace” etc.). These works were doubtless painted by founder of Tabriz miniature school Sultan Mahammad, his contemporaries and students in XVI century. It is not accidental, that the most valuable miniatures of unknown authors, created in this period, are usually referred to Sultan Mahammad school or his style.

Development peak of this school dated to XVI century. Tabriz, the capital of Azerbaijan, turned into main center of culture, aesthetic view, artistic creation in connection with appearance of centralizing Safavis state. Famous painters, calligraphers and masters of the East like Kamaladdin Behzad, Sheykhzade, Aghamirak Isfahani, Shah Mahmud Nishapuri, Dust Mahammad created under the direction of great master Sultan Mahammad along with talented local painters like Mir Musavvir, Mirza Ali Tabrizi, Mir Seyid Ali, Muzaffar Ali in the palace library of Shah Ismayil and Tahmasib in Tabriz.

Relation of Tabriz miniature school with classic literature became closer since XVI century. Works, poetical plot and characters of Firdovsi, Nizami, Sadi, Hafiz, Jami, Navai, Amir Khosrov Dahlavi and others occupy main place in the creation of Tabriz painters. A lot of books and the most valuable miniatures painted for these two works “Shahname” and “Khamsa”. Some of the miniatures, blending artistic style peculiarities of Tabriz school of XVI century, as illustrations painted for manuscripts “Khamsa” of 1524 (Subway-museum, New-York), “Shahname” (Institute of Oriental Studies, St. Petersburg), “Guy ve Chovkan”, “Chami at-Tavarich” of 1528 (both in the Library named after M.Y.Saltikov-Shedrin, St. Petersburg) draw close attention. Relatively simple and laconic works in respect to simple composition, color, character solution and landscape motives represent transitional period from laconic style peculiarity of XV century to new grandiloquent decorative style of.

Eastern miniature art reached the peak of its development in 1530-1540s. A lot of valuable manuscripts in the view of artistic aesthetics and mastery were worked out in this period.

Manuscripts “Shah and Darvish” with three delicate small miniatures (The Library named after M.Y.Saltikov-Shedrin, St.Petersburg), “Shahname” with 258 miniatures (1537; some of them are in the Metro Museum of New-York, the rest in the Houghton collection, New-York) and world-famous “Khamsa” with 14 rare miniatures (1539-1543, British museum, London) are considered masterpieces of book art and miniature painting in the East due to rich artistic design, delicate decorative adornments. Some of the miniatures painted for “Shahname” are “Keyumarz’s meeting”, “Execution of Zohhak” by Sultan Mahammad, “Reception of Indian envoys” by Mirza Ali Tabrizi, Hunting and battle scenes by Muzaffar Ali, Palace meetings by Mir Seyid Ali, miniatures painted for “Khamsa” are “Sultan Sandjar and old woman”, “Khosrov looks at Shirin in her swimming”, “Prophet Muhammad’s ascension” by Sultan Mahammad . “Conversation of Anushiravan and owls” by Mir Musavvir, “Khosrov listens to Barbad’s music”, “Shapur shows Khosrov’s portrait to Shirin” by Mirza Ali Tabrizi, “Beggar-woman takes Madjnun to Leyli” by Mir Seyid Ali and other works are considered the peak of the Eastern miniature art. Plots of “Sahname” and “Khamsa”, loved by Eastern painters, were brightly and classically reflected on works by Sultan Mahammad and his contemporaries. Azerbaijan painters created original miniatures for other poetic works as well. For instance, “Sham Mirza’s music and drunken revel”, “In the meykhana” (tavern), painted by Sultan Mahammad in 1530s for “Divan” by Hafiz, miniatures painted by unknown painter for works by A.Jami, Amir Khosrov Dahlavi, Sadi (The library named after M.Y.Saltikov-Shedrin, St. Petersburg). Characters described in “In meykhana” by Sultan Mahammad are considered rare works in Eastern miniature art in view of psychological expressiveness, grotesque and satire.

Easel miniatures, occasionally met in miniature art till XVI century, turned into particular genre . Ordinary life scenes like hunting and battle scenes, musical and drunken revels, palace entertainments, portraits of shahs and nobility are mainly painted in the independent miniatures in contrast of book illustrations. “Musical revel in the palace ” by Mirza Ali Tabrizi, “Hunting scene” by Sultan Mahammad, “Village life” and “Town life” by Mir Seyid Ali, kept in the special albums or included into different manuscript books in museums and libraries of Russia (St. Petersburg), Turkey (Istanbul), as well as Europe and the USA occupy exceptional place in Eastern miniature art.

Sultan Mahammad, Mir Musavvir, Dust Mahammad and others created some portrait miniatures in the middles of XVI century. Painters described characters of shahs and nobility in compliance with beauty notion of that time in these portraits, which sometimes differ but sometimes not for typicalness, character solution and ethnographic peculiarity, given in different positions. The main purpose of these portraits, created on the basis of certain canons (rule, style), was to praise rulers’ outward appearance.

A group of painters, worked in the palace library, gathered in the new center in connection with removing of Savavis’s capital from Tabriz to Gazvin in the second half of XVI century. Miniatures, created by Azerbaijan painters in Gazvin till 1575, do not differ from miniatures of Tabriz period because of artistic style peculiarities and represent its logical continuation.

Development of Azerbaijan miniature art and formation of new style in Gazvin in the second half and late XVI century related with creation of Sultan Mahammad’s successors Siyavush bay, Mir Zeynalabdin Tabrizi, Ali Rza Abbasi Tabrizi and well known masters Mahammadi and Sadig bay Afshar. Independent miniatures, reflecting real life and ordinary housing scenes, were created in this period. Stagnation of Azerbaijan book and miniature art is observed in the second half of XVI century. One of the main reasons was lost of Tabriz’s culture center role in connection with removing of the capital, another was Tabriz painters’ working in the art centers of Turkey and Iran, as well as lack of comprehensively developed masters with wide creative potential like Sultan Mahammad and his successors.

Tabriz school kept creative relations with neighbor states, representatives of the school worked in foreign countries in different periods. Well known painter Mir Seyid Ali with his father Mir Musavvir had worked as chef painter in the palace of Mogul rulers as Humay (1530-39, 1555-59) and Akbar (1556-1605) in India for long time. They played great role in the training of young painters, foundation and development of Indian painting school, named Mogul miniature school. Azerbaijan painters had great influence on the development of Turkish miniature school. Shahgulu Naggash, Validjan Tabrizi, Kamal Tabrizi and other Tabriz painters worked in Istanbul in different times, Shahgulu Naggash and Validjan Tabrizi run palace studio. Many valuable works, reminiscent of miniature style for content, artistic form and figurative expression means, were created in carpet-making, and ceramics.

Azerbaijan miniature art continued till late XIX century. But miniatures, painted for manuscripts and books of stone print in the XVIII-XIX centuries, were simple, schematic and even primitive popular print for painting and compositions. The illustrations, painted by Avazali Mughanli for “Kalila and Dimna” (1809), by Mirza Aligulu for “Shahname” (1850), by Mir Mohsun Navvab for “Bahr ul-hazan” (1864), by Nadjafgulu Shamakhili for “Yusif and Zuleykha” (1887; these works are in the Manuscripts Institute of the Azerbaijan Republic Academy of Sciences) and for other books prove decay of classic miniature art for figurative expression means.

Rich traditions of classic miniature, its artistic style peculiarity were creatively used in the soviet period. Usage of classic miniature art peculiarity more expanded, painters’ creative researches in painting, graphics, particularly in book illustrations resulted in successful works in the following development periods. M.Abdullayev created some valuable works, related with classic heritage in painting, graphics, monumental painting and theatre design. Illustrations created by painter for “Kitabi-Dada Gorgud” (1962 and 1979 editions), mosaics on the basis of works by Nizami in the Nizami station of Baku underground draw attention.