К ИСТОРИИ ФОРМИРОВАНИЯ ИКОНОГРАФИИ СТАМБУЛА В АЗЕРБАЙДЖАНСКОЙ ЖИВОПИСИ

Abstract

In the visual arts of Azerbaijan, the formation of the iconography of Istanbul is a multi-level and stage process. Its relevance is due to a number of factors of both the socio-ethnocultural aspect, historicism of relations, and creative searches of a personal nature. The purpose of the study of this article is to identify the context and the main priorities of the formation of the pictorial signature of Istanbul in Russian painting at certain stages of its development. The choice of the iconographic method as the main one made it possible to most clearly trace the specific semantics of the city, and also led to an appeal to the iconology of plots and genres associated with the image of Istanbul. The formation of canonical schemes took place against a complex background of a complex of historical mutual influences of related states, which necessitated the use of the diachronic method as one of the main tools. As a result, a rather capacious empirical base was analyzed, which included works of Azerbaijani painting from successive historical eras. Along with them, the initial base was considered, a series of interviews with the authors of the work was conducted. A generalization of the study was the conclusion that the image of Azerbaijani artistic creative consciousness was gradually formed, starting from the Middle Ages, within the framework of canonical art and against the background of constant close historical contact, which also led to periods of recession (Soviet period) in the development of themes. Stable positions during the new time are traditions of European romanticism, and in particular, Orientalism, reflected in the monumental painting of Azerbaijan. The stylistic and genre diversity is rapidly gaining momentum with a period of independence within the framework of both classical and postmodernism.