506
Destiny of
Bahruzbay Kangarli
S
ometimes we choose the way, sometimes it chooses us. In both cases, nobody
wants this way to be unsuccessful. When the name of Bahruz was given to a
boy who was born in the family of Shirali bay Kangarli, who was one of the
advanced intellectuals of that period in Nakhchivan in 1892, nobody knew that this child,
whose name was translated as “Pleasant day”, will die as a famous painter after thirty
years. But, Bahruz bay lived this short life not without tangible hardships. His mother
died when he was a child, and he became deaf at the age of nine. Nevertheless, the
young painter could write his name into the history of Azerbaijani art only during of his
short creative life during seven years after he had received his education.
We will not be mistaken if we say that Bahruz bay, a representative of famous
Kangarli family, proved, in conditions of Azerbaijani realities that the meaning of life
does not depend on its duration. Today, the name of Bahruz bay is being mentioned
together with the long history of Nakhchivan which once again proves his name’s
immortality and that his works are timeless.
We must admit that Bahruz bay Kangarli did the work which could be done by
entire creative generation at that time. Graphic series “Refugees”, created by him in
conditions far from prosperity, are accepted and evaluated not only as professional,
but also as evidence of magniicence of the artist-patriot civil position. It will not be a
mistake to say that Bahruz Bey who was able to dedicate only seven years of his life
full of deprivation to free creation with his series of “Refugees”, which tells about
Armenian aggression, did what other artists, who were doomed to bear in the most
dificult moment for the country the moral burden of Azerbaijani art in the 20th century,
were not able to inish. Thus, this period of the artist is a unique artistic documentation
revealing the true nature of our treacherous neighbors.
If you list his not so long biography chronologically irst of all it should be noted
that Bakhruz Bey who lost his hearing in the childhood was forced to leave Russian-Tatar
(Azerbaijani) school where he studied and continued his education at home with his father’s
Shirali Bey’s help.
In those dificult years the art in which he took great interest became his favorite
occupation. After some time Bakhruz Bey took a inal decision to receive an artist education
and asked his father to send him to study to Tilis. Shirali bay hesitated knowing that his
son’s deafness will be an impediment for his ability to study in an art school far from his
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native home, but he had friends in Tilis. This circumstance and the faith of Bahruz Bey in
his strength and ininite desire to study forced Shirali Bey to give his consent to his son’s
education. Finally, in 1910, Bahruz Bay at the age of 18 went to Tilis to study art. He was
admitted to the only art school in Caucasus at that time, after successfully passing the exam.
Young painter who studied there till 1915 and learned the secrets of art of famous brush
masters of his time returned to native Nakhchivan after graduation.
His creative activity which continued for the next seven years was rich. Though Bahruz
Bay created about two thousand paintings, graphic and theater-scenery pieces during this
period, only about 500 reached our days. In these multiple works one can feel the individual
“Bahruz vision” of what he had seen in his life. In other words, though he was born in the end
of XIX century and lived only 30 years, Bahruz Bay Kangarli (1892-1922), who breathed
a new life into Azerbaijani’s ine art with rich artistic heritage, was one of the artists
who spread the reputation of a famous family far from Nakhchivan. Undoubtedly, the
young painter had played an invaluable role in the development of many genres that
were starting to form in the ine art of Azerbaijan in XX century. Bakhruz Bey relying
on realistic style managed to signiicantly expand the expressive possibilities of this
artistic principle. With the works made with charcoal, oil and watercolors, he self-
afirmed as an artist with an unprecedented outlook on life in our national art.
His works are characterized by genre diversity.
However, his artistic heritage left
mostly portraits and landscapes. The artist, who organized his irst solo exhibition in
Nakhichevan when he was a student (1914), knew about the interest of the people in
this genre. Therefore, in the album “Memories of Nakhchivan” which was released by
the artist to the public after he had left school, landscapes and portraits occupy a central
place. We would like to note that only a small part of the works of different genres
praise the beauty of nature and man, and most of the works Bahruz Bey were painted
with a view to perpetuate the story, in other words, to convey to future generations what
artist saw and experienced as it was. And we can say with full conidence that it was an
expression of citizenship and patriotism of the young master of the brush, of the artist.
The Portrait Gallery of artist is rich enough. The images of people of different
ages, who lived with the artist in his hometown, as well as images of refugees, survivors of
the Armenian massacres take the central place among the paintings.
His portraits of “Azerbaijan Woman” (1913), “Portrait of Shirin Aliyeva” (1917),
“Assad Aga Kengerli” (1916), “Nazli Aliyeva Tairova (Najafova) “(1916), “Mirza Haydar
Nasirbekova” (1918), “Portrait of a teacher of the Russian language Mirza Magomed
Zamanbekov” (1917), were drawn with charcoal and pencil, and painted with oil and
watercolor, “Portrait of the confectioner Kerbelai Heydar” ( 1919), “Portrait of a Tatar”
(1920), “The Prophet” (1920), “Portrait of a boy” (1917), “Portrait of a man” (1919), “Self
Portrait” (1920), “The rich Muslim” Nakhichevan beauty “( 1917)) and others relect the
ability of the young artist to penetrate deeply into human psychology.
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Bahruz bey’s series of paintings “Refugees” consist of up to thirty works made with
watercolors. If we compare these pictures with forgotten recordings, photographs taken
at the turn of the century, you can ind a lot of similarities. We have no doubt that Bahruz
bey painted a portrait of the refugees expelled in 1918-1921 from the homeland of their
ancestors in Armenia and found refuge in Nakhchivan for us to remember them. No one
has ordered or bought these paintings as it is often the case. But the young artist , showing
an example of patriotism created an artistic chronicle of what we had experienced ( “The
Girl in the red scarf “, “ Refugee”, “Refugee Imran with a bag”, “Boy refugee from the
village Dzhanfeda”, “Dzhumshun - woman - refugee of Afshar village”) . We believe
that perpetuating heartbreaking appearances of refugees from Dzhanfeda , Afshari, other
villages and regions, traces a hopelessness in their eyes, as if the artist bequeathed to us
not to forget those events . We will not be mistaken to say that a woman in the work
“Refugee” (1920) of this series is different from the others by her clothing. Our study
conirmed that the woman was the wife of the painter. The information is that they were
married in 1918, but their life together did not last long, two years later they parted.
Having touched on here the personal life of the artist, we consider it necessary to
say a few words about the other members of his family. Artist’s mother Aziz Khanum
died when Bahruz was an infant. After his mother’s death, his father Shirali bey married
Shirin Aliyeva . From this marriage two daughters were born Tahira and Mansoora. After
the death of Shirali Bey in 1912-1915 years Shirin Aliyeva married artist’s Uncle Gadir
Aga. From this marriage three children were born - Davud, Rustam and Gyultadzh.
No matter how high was the honor of this family to belong to Kengerli family,
the wave of repression of the 30s of the XX century did not spear them and family
members were reprised.
Despite the variety of genres of Bahruz bey Kangarli creativity, the numerical
preponderance of the diversity of the landscape is quite obvious. First, we note that
there are a lot of samples among these landscapes glorifying the nature of Nakhichevan
designed to convey to future generations the historical events.
We will not be mistaken
if we say that the paintings “Mosque with damaged minaret” (1920), “Abandoned
house” (1921), “Ruins in Nakhchivan” (1921), “Destroyed gates in Eylabat village” (1921),
“Imamzada tomb” (1919), “Momuna khatun tomb” (1920), “Ashabi-kahf monument”
(1921), “Grave of Noah” (1921), and others, are
focused on the perpetuation of the historical
situation,
but the paintings “Trees” (1917), “Mountains landscape” (1918), “Cherry trees”
(1916), “Snowy mountains” (1916), “South view” (1921), “The top of the mountain” (1918),
“Moonrise” (1920), “Autumn” (1921), and others were painted to show the beauties of the
nature of native land to turn to the source of pride.
It should be noted that apart from the works the artist painted during his student years,
the works of various genres painted on his return to Nakhichevan are mainly of small
size. Although some researchers link it to the dificult inancial situation of the artist, in
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our opinion, it was his conscious choice. The most interesting fact is that in each of the
paintings the artist applied art methods with a desire to show the object in detail.
Overall, almost all of these small paintings, which uniqueness are in their small size,
are not very detailed. The author’s focus in the numerous works consisting of images of
trees and mountains surrounding the city, aims to relect the general state of nature at that
moment. As those images were painted at different times of the year, their color scheme is
different.
There are not so many still life paintings than the landscapes and portraits. The
paintings form his student years did not reach us. And from seven-year period of creativity
in Nakhichevan, we know only ive still life works. One of them (“Rose”) he painted in
1916, and the rest (“Blue bucket”, “Chirag”, “Copper bowl with a pattern,” “Inkstand”) - one
year before his death in 1921. In these works, the artist obviously wished to emphasize
the historicity inherent of surrounding samples of material culture, identify the sources
of beauty which lowers carry, illing them with aesthetic appeal.
There are not so main scenery paintings in the short artistic life of the artist. In
this respect, we can mention the following works by the young master of the brush in
different years: “Courtship” (1910s), “Nakhichevan Wedding” (. 1910s), “Nakhichevan
messenger” (date unknown), “The shop” (1913),” Refugees “(1920), “A shepherd with
lock “(1921),” Two women “(1920), “Prayer “(1916),” Two refugee girls” (1920) and
“peasant with a sickle” (1921).
In these works, created in pencil and watercolor, the talent of Bahruz Bey is, which
is shown in the formation of the composition, insight of the plot.
A special place in the artist’s work was in the ield of theater and decorative art.
Thus, sustainable establishment of this art in Azerbaijan is connected with the name of
Behruz Kangarli Bey who demonstrated his talent in the ield of stage design.
The artist participated in the design of the plays at Nakhchivan theater since1912
had great merits in this work. Having done stage design in the national color scheme
for the plays (“The Dead”, “Peri-Jadu,” “broken alliances”, “Arshin mal alan”, “Woe
Fakhraddin”, “Ignorance” and others.), developing the scenery, characterized by their form
and content , beautiful curtains of different colors, clothing designs, relecting the spirit of
the performances, and panels that increase the magic scene.
Bahruz bey Kangarli who in the history of Azerbaijani art is often referred to as a very
productive painter, died on February 7, 1922. The artist, who in fact was destined to become
the pride of Azerbaijan in the future, had had various diseases since childhood. The young
artist, with the sufferings often known only to himself as if he went step by step towards his
death. But he never stopped creating. Perhaps that’s why saying goodbye to life in a cold
February day, Bahruz Bey was certain for his heritage. This is evidenced by the fact that his
creations today inspire us. A never-ending stream of people who appeared in day of the funeral
to escort him on his last journey prove that Nakhchivan is aware of who and what it lost.
510
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1948-ci ildə anadan olmuşdur. İxtisas təhsilini əvvəlcə Ə.Əzimzadə adına
Azərbaycan Dövlət Rəssamlıq məktəbində (1970-1974) almış, bu təhsil ocağının
“Rəngkarlıq” şöbəsini fərqlənmə diplomu ilə bitirmişdir. Sonra isə İ.Y.Repin
adına Sankt-Peterburq Rəngkarlıq, Heykəltəraşlıq və Memarlıq İnstitutunun
“Sənətşünaslıq” fakültəsində (1976-1982) təhsil almışdır. Əmək fəaliyyəti
Azərbaycan Milli İncəsənət Muzeyi, Azərbaycan Yaradıcılıq Fondu, Azərbaycan
Rəssamlar İttifaqı, Azərbaycan Dövlət Mədəniyyət və İncəsənət Universiteti,
Azərbaycan Dövlət Pedaqoji Universiteti ilə bağlı olmuşdur. Hazırda Azərbaycan
Dövlət Rəssamlıq Akademiyasında çalışır, “İncəsənət tarixi” kafedrasının
dosentidir. Azərbaycan Rəssamlar İttifaqı “Tənqid və sənətşünaslıq” bölməsinin sədridir. 2006-
cı ildə “Azərbaycan Respublikasının əməkdar incəsənət xadimi” fəxri adına layiq görülmüşdür.
Sənətşünaslıq üzrə fəlsəfə doktorudur (2014).
40 ildən çoxdur ki. yaradıcılıqla məşğuldur. Bu müddətdə yerli və xarici ölkələrin (ABŞ,
Rumıniya, Rusiya, Ukrayna, Özbəkistan, Qırğızıstan və s.) mətbuatında çoxsaylı elmi məqalələri
çap olunmuşdur. O, müxtəlif illərdə işıq üzü görmüş “Mir Möhsün Nəvvabın rənglər aləmi” (1996),
“Naməlum Səttar” (2006), “Sənətin Məcnunu” (2009), “Günahlı dünyanın günahsız adamı və
yaxud Səttar Bəhlulzadə romantizmi” (2014), “Azərbaycan rəqs geyimləri” (2010), “Səməd Vurğun
təsviri sənətdə” (2010), “Cizgilərə hopan ömür. Cəmil Müidzadə” (2011), “Tənha döyüşçü. Zakir
Hüseynov” (2011), “Altay Hacıyev” (E.Qasımova ilə birlikdə, 2011), “Azərbaycan incəsənəti
ensiklopediyası. I-III cildlər. (A.Xəlilovla birlikdə, 2011), “Fəxrəddin Məmmədvəliyev” (2012),
“Sabir təsviri sənətdə” (2012), “Plastikanın poetik çalarları. Görüş Nurəddinoğlu” (2013), "Davud
Kazımov"(1913), “Arif Hüseynov” (2014), “Boyalı gülüşlər” (2014), “Gerçəkliyin rəngi. Tamilla
Seyidova” (2014) və "Sənətkar ömrü. Şaiq Məmmədov" (2016) kitablarının müəlliidir.
1958-ci ildə anadan olmuşdur. İxtisas təhsilini 1981-1986-cı illərdə indiki
Nəsrəddin Tusi adına Azərbaycan Dövlət Pedaqoji Univerisitetinin “Bədii
qraika” fakültəsində almış, təyinatla Naxçıvan Dövlət Univerisitetinə müəllim
göndərilmişdir. 1986-2005-ci illərdə həmin univerisitetdə baş müəllim, 2005-
2013-cü illərdə AMEA Naxçıvan Bölməsinin İncəsənət, Dil və Ədəbiyyat
İnstitutunda Təsviri və Dekorativ – tətbiqi sənətlər şöbəsinin müdiri vəzifəsində
çalışmışdır. Hazırda Naxçıvan Müəllimlər İnstitutunda və Naxçıvan Rəssamlar
Birliyində çalışır. Naxçıvan Dövlət Universitetində və Naxçıvan Müəllimlər
İnstitutunda təsviri sənətin tədrisi ixtisası üzrə şöbənin yaradılmasında və fəaliyyət
göstərməsində böyük xidmətləri olmuşdur.Yüzdən çox elmi məqalənin, üç kitabın (həmmüəlilərlə birgə)
müəlliidir. Azərbaycan Rəssamlar İttifaqının və Naxçıvan Rəssamlar Birliyinin üzvüdür.
Kitab¯n m³¬llifl¬ri
haqq¯nda
Ziyadxan Alxan
oğlu
Əliyev
Nizami İsgəndər
oğlu
Alıyev
511
Arxiv
MÜNDƏRİCAT
Bəhruz Kəngərlinin adının əbədiləşdirilməsi haqqında
Naxçıvan Muxtar Respublikası Ali Məclisi Sədrinin Sərəncamı . . . . . . . . . . . 5
Bəhruz Kəngərli Muzeyinin yaradilması haqqında
Naxçıvan Muxtar Respublikası Ali Məclisi Sədrinin Sərəncamı . . . . . . . . . . . 7
Görkəmli rəssam Bəhruz Kəngərlinin 120 illik yubileyinin keçirilməsi haqqında
Naxçıvan Muxtar Respublikası Ali Məclisi Sədrinin Sərəncamı . . . . . . . . . . . 8
Görkəmli rəssam Bəhruz Kəngərlinin 120 illik yubileyinin
keçirilməsi ilə əlaqədar Tədbirlər Planı . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Rəssamlar parkının yaradılması haqqında
Naxçıvan Muxtar Respublikası Ali Məclisi Sədrinin Sərəncamı . . . . . . . . . . 11
ÖN SÖZ ƏVƏZİ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
KƏNGƏRLİLƏR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ARZULARIN İŞIĞINDA
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Rəssamın dövrü və mühiti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Uşaqlıq illəri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Təhsil illəri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Sənət dünyası . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Rəsmlər . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Portretlər . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
“Qaçqınlar” silsiləsi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Mənzərələr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Natürmortlar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Süjetli kompozisiyalar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Teatr-dekorasiya sənəti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Son söz əvəzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
PORTRET CİZGİLƏRİ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Portret cizgiləri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
RƏSSAM HAQQINDA FİKİRLƏR . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Rəssam haqqında ikirlər . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
ÖLMƏZLİK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Ölməzlik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Bəhruz Kəngərli Muzeyi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Rəssamın şəxsi əşyaları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Şərəli ömür yoluna verilən dəyər . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Bəhruz bəy Kəngərli adına Rəssamlar Parkı . . . . . . . . . . . . . . . . . . . . . . . . . 261
İTHAFLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
İthalar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
“Naxçıvan yadigarı” (İslam Səfərli) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
“Uzaqda dağlar görünür” (Toiq Mahmud) . . . . . . . . . . . . . . . . . . . . . . . . . . 309
“Rəssam və mələk” (Elçin İsgəndərzadə) . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
“Yarımçıq şəkil” (Adil Babayev) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
“Həmişə yaşardı Bəhruz” (Zaur Vedili) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
KATALOQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
Kataloq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
ARXİV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
Tarixi yaşadan sənədlər . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489
К
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501
Destiny of Bahruzbay Kangarli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506
Kitabın müəlliləri haqqında . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
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