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CULTUROLOeY
UOT 7.032
Vugar Karimli
culturologist (Ph.D), associate professor, scientific secretary, Institute of Architecture and Art Azerbaijan National Academy of Sciences, Baku, Azerbaijan
ORCiD: 0000-0001-5868-8109 DOI: 10.24412/2520-6990-2022-31154-10-15 ARTISTIC IMAGE OF ANCIENT TURKIC ART
Вугар Каримли
Кандидат культурологии, доцент, ученый секретарь Института Архитектуры и искуссвтва Национальной Академии Наук Азербайджана,
Баку Азербайджан ORCiD: 0000-0001-5868-8109
ХУДОЖЕСТВЕННЫЙ ОБРАЗ ДРЕВНЕТЮРКСКОГО ИСКУССТВА
Abstract
Turkic folk art has not been studied as a special subject of modern Azerbaijani culture. However, paying attention to the systematic features of artistic traditions, folklore and written literary works, gives an opportunity to think about the processes of the emergence of new aesthetic principles in cultural evolution. First, in recent years, cultural culture has tried to consistently analyze the system of development of national creativity and evaluate it on the basis of new scientific principles. Secondly, in the context of the development of culture, in particular, the study offolk art in the context of the consideration of national cultural problems is ofparamount importance. Thirdly, a person who is inclined to enjoy aesthetic pleasure in his daily life, prefers artistic culture, artistic aesthetic criteria that reveal its essence. The people, who lived in years of yore, had their own cultural and social traditions. The straightforward style of their art conveys the consciousness of the forefathers of the humanity. The primeval art as well can tell us in realistic or abstract way of prehistoric man concept about nature, religion, ritual and so on. Dwelling in endless mutual relations with the nature primeval artists could convey their idea of human's participation with life of all Universe. Common scenes from everyday life could not express just hackneyed description of people's week-days. The core of primeval art is more profound. The connotation of overwhelming majority of scenes in primeval engravings and pictures is the conception of eternal life.
Аннотация
Тюркское искусство как важный предмет современной азербайджанской культуры изучалось частично. Однако обращение к систематическим особенностям художественных традиций, фольклора и письменных литературных произведений дает возможность задуматься о процессах возникновения новых эстетических начал в культурной эволюции. Во-первых, культура последних лет пытается последовательно анализировать систему развития национального творчества и оценивать ее на основе новых научных принципов. Во-вторых, в контексте развития культуры, в частности, изучение тюркского искусства в контексте национально-культурных проблем имеет первостепенное значение. В-третьих, человек, склонный к получению эстетического удовольствия в своей повседневной жизни, отдает предпочтение художественной культуре, художественно-эстетическим критериям, раскрывающим ее сущность. Социальное воздействие художественной культуры, прежде всего, является важным аспектом функционирования общества, предусматривающим организацию совместной деятельности людей на основе принятых в обществе норм и правил. В этой статье мы погрузимся в рассмотрение проблемы художественного образа в древнетюркском искусстве. Некоторые исследователи предполагают, что древние люди были очень отсталыми. Но научные исследования доказывают обратное. Люди, жившие в былые годы, имели свои культурные и социальные традиции. Раннее искусство также может в реалистичной или абстрактной форме рассказать нам о представлении древнего человека о природе, религии, ритуале и т.д. Пребывая в бесконечных взаимоотношениях с природой, древние художники могли передать свою идею сопричастности человека жизни всей Вселенной. Обыденные сцены из повседневной жизни не могли выразить просто заезженное описание будней людей. Ядро первобытного искусства более глубокое. Коннотацией подавляющего большинства сцен древних мастеров, гравюр, наскальные изображения и т. д. является представление о вечной жизни.
Key words: Art culture, symbol, ornament, artistic thinking, art, culture, imagery, Turkic peoples.
Ключевые слова: Художественная культура, символ, орнамент, художественное мышление, искусство, культура, образность, тюркские народы.
Over time, generations replace each other, moral values are updated, entire civilizations and cultures are replaced by others. Only coded symbols and signs of the past and their interpretations remain in the memories. From time immemorial, people expressed their ideas not only in words, but also in written signs and images and passed them on from generation to generation. Both words and numbers in our language or written texts are individually symbolized forms of certain sounds with conventional signs. One of the characteristics that distinguish a person from other living beings as a biological being is his ability to think abstractly, to transform the events taking place around him, any information, ideas, processes into simplified images, easy-to-understand conventional signs.
In ancient times, people sought to decorate their surroundings, their places of residence, their tools and tools with various ornaments. Since ancient times, ornamental elements have mainly been images that reflect the features of the elements of nature, images of a person, plant, animal, etc. Primitive people believed that the elements used in ornaments protect them from dark forces. They used various simple decorations to protect themselves from the dark forces. That is why the ornaments were mainly reflected on the sleeves and hem of their clothes.
Although these signs belong to different socio-cultural, intellectual classes, ethno-cultural groups, time periods, individual human societies, they were the most rational means of communication for ancient ancestors, regardless of national, religious and spatial differences. The ability of a person to understand the world around him through laconic images and symbols is called "mythopoetic thinking" in science. The famous psychologist Erich Fromm wrote the following about such a form of communication understandable to all: "The language of symbols is a universal language that is best understood by all mankind" [1].
Of course, images of various kinds were allocated by supernatural power. Perfect examples for them are petroglyphs, which were found on all earth inhabited space. This historical and artistic phenomenon occupies archeologists and in general antiquity lovers in Europe, Russia, Asia and America, because the study of petroglyphs gives valuable information about people's lives and beliefs of ancient times. Y.A.Sher writes: "Similarly texts, petroglyphs were created initially as carriers of certain information, but not linguistic, but figurative. Any drawing represents an inseparable dialectical unity of the content plan and the expression plan" [8, p. 116119]. Scientists still dispute that there are petroglyphs - the first "alphabet" or the ancient art.
Always, when it is referred to the image, it is necessary to remember that its peculiarities also depend on the socio-cultural environment in which it was created, and on personal qualities of its creator, and on specifics of consciousness and aesthetic experience of those who perceive this image. A.F. Losev was right, when he wrote: "We don't know well even what an imagery is" [13, p. 519-530].
Petroglyphs are one of the oldest types of fine arts and perhaps the first visual method of communication. They have informed about what understanding of our
remote ancestors of the universe was, the structure of the world, life and death, as well as about what their spatial thinking was, by what means they expressed their thoughts, emotions, ritual-magical ideas to our time in a peculiar form. However, it shouldn't be considered that this information is like a "dead" language, which can be decrypted and translated a rock "text" expressing the idea of the ancient inhabitant of Gobustan in the usual phonetic, grammatical and syntactic structures. You shouldn't think that petroglyphs are primitive weak attempts to depict elements of the surrounding world solely in magical, incantatory purposes. As a rule, such position leads to unfair attacks on the creators of petroglyphs with accusations in ignorance of the law of perspective, proportions, in inability to express the anatomical structure of people and animals. Unfortunately, the most ancient masters can no longer answer such "advocate of high art" with counter question -"Why?" Really, the syncretism of primitive consciousness can't be comprehended even by the standpoint of modern thinking. It is necessary to enter upon the level of Bronze Age or Neolithic Age and ask a question yourself: "Why do we need the rules of perspective, knowledge of volumes, proportions, anatomy, etc., if the whole world, space is one, everything is copresent to everything, one form flows into another, and life and death are only different milestones, steps on the path of wandering between the lower, middle and upper worlds?" [6, p. 213]. So, when the imagery of primitive art is investigated, it is necessary to take into account that their creators are carriers of special mythopoetic thinking. Such thinking is comprehensive, monolithic in its synthetics. The concept of "artist" didn't exist in the Neolithic age in a sense familiar to us. A master making rock carvings was at the same time a hunter, a warrior and probably a magician or a shaman [7, p.2135-2138].
The imagery is closely connected with mythopoetic ideas and rituals in primitive art, its expressiveness depends largely on what ritual function it performs, how it is relevant to this or that myth. We aim for the analysis, for decomposition of any phenomenon into a particular through the private cognizing the whole in gnosiological aspect. And learning the world for a primitive master, a creator of rock "painting" means to merge with it together, to dissolve in it, to become its blood and flesh, its external expression and inner content along with all the animated creatures. Such diffuse-ness, indivisibility of creators' worldview of preliterate epochs found a perfect incarnation in the images of rock art. Incarnation of the imagery by ancient masters happened within the framework of a special artistic space, which was already sacral on its own.
The structure of the artistic space of petroglyphs is distinguished by absoluteness, homogeneity and the absence of a fixed depth. It is easy to confirm this conclusion, if we pay attention to the fact that the image of birds belonging to the elements of the sky (to the upper world) is rarely represented alone, and they are the components of various compositions. They adjoin to images of little men, spots, animals, fences, etc. It is interesting that the birds in Transbaikalian drawings are shown neither from the side, nor from the top, nor
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"three-quarter", but as if "in section", very geometrically. They remind of application, which is accurately carved out of some material of the image attached to the rock. In fact, the pictures were carved on the surface of the stone in such way that there were practically no holes from the blows and a smooth surface of the image was shaped. So, the first thing that should be noted in the manner of the image of petroglyphs is the contour of the figures, the important role of the silhouette, the smoothness. This is not a result of the inability to give the volume. It is impossible to explain the prevailed role of the contour in artistic expression, the arsenal poorness of the depictive means of primitive creators. The source of this manner is self-awareness, the very attitude of people of those remote epochs, when animistic ideas dominated and personal responsibility lay on each one not only for their own destiny, for the fate of their tribe, but for the present and the future universe in general. Likewise the universal participation, the indivisibility of the objects and phenomena were felt around the world, and any manifestation of the life of the primitive society correlated with the rhythm of the life of the surrounding world. The art, in other words the act of creating visual images could be a part of certain ritual associated with imitative, commercial, incan-tatory magic. Therefore, not the object, not a copy of the object was represented, but the essence, the content or even a separate feature or characteristic feature of the object. Contouring or silhouette meet perfectly these requirements. Thanks to applicability of the silhouette image, it was possible to represent the bird in a standard pose for many primitive rock works - soaring in the immerse heavenly space. If we give a rough comparison of the figurative language with the laws of the spoken language, then we have a verb. The image of an action of a particular object correlated with the object.
An artist concentrates his attention maximally on transferring the action, the most unique for a bird, in other words flying with widely spread wings. In fact, before us the image is not so much of the object itself, but the action carried out by it. No volume image is able to give the action as informatively, as simple geome-trized scheme, graphic do, but it is close to them by its character, its degree of informativeness, the image - applicative, clear, planar (two-dimensional). What is it? Or is it just a conventional image of the volume objects implemented planarly? It is impossible to give an absolute answer, because actually there is no way to comprehend all the secret of human consciousness, especially when it refers to the consciousness of people, who lived about ten thousand years ago. How did the ancient master, who created the considered works, think? Asking this question, we approach directly to the question of feelings, the factors affected on them and about what place these feelings occupied during the creative process, how they influenced the very essence of the imageries. It is possible to refer to the ancient written theoretical evidences about the origin of fine arts, in other words to antique sources. Pliny himself (23-79 yers) had to state the fact that the question of beginning of painting is not clear. Nevertheless, "according to Pliny, the first steps were made either by Egyptian Fylokl or by Kleanf from Corinth in this art,
who surrounded the shadow of a man with the dark contour" [3, p. 519-530]. At first sight, such a strange hypothesis about the origin of painting art was expressed not only by the author of thirty seven books "Natural history". "Afinogor - Greek philosopher of the 2nd century C.E. also noted that the discovery of the drawing art consisted in the depicting of the shadow. So, artist Savri from Samos Island depicted the shadow of a horse" [11, p. 328]. Therefore, a conclusion cannot be theoretic that primitive masters from Siberia acted in a similar way, in other words they depicted the shadows of objects. For example, neck and tail of some Transbaikal "eagles" are reduced, their wings are excessively stretched, and the contour of the figure represents fragmentary line. This could be a shadow of a bird flying in the sky in sunlight or in the gleam of the firelight reflected on a rock. However, the shadow could be identified by the bird, likely it was represented as its soul. In general, the shadow of a bird could be perceived as certain message or a blessing from the heaven.
According to reviewed examples, we were convinced that the imagery is characterized by emotional saturation, also carries inherently informative beginning in primitive art. A special figurative expressiveness of the works of Scythian-Siberian animal style will be considered in the next part of the work.
All ancient art, particularly animal style imbued by great pathos of timeless and someone's will of eternal laws of nature, is spiritualized by the worship of these laws, animated and materialized in visible images due to unknown masters' talent and imagination. Really, only those who carefully observed the smallest phenomena of the nature life with sacred awe, with unchanged admiration for the power and beauty of the world, only those who truly realized themselves not just as a part of all living things, but also as identity for all living things - only they could be creators of so rhythmically expressive, dynamic, logical, stylistically integral compositions and images of Scythian-Siberian animal style. Works created by Scythian artists immediately made a proper impression on scientists as soon as they were discovered. This is a great rarity in the case of images of primitive art, especially Siberian. Okunev steles (Southern Siberia, Khakas-Minusinsk basin) were called, for example, as "rough idols", and Tagars' bronzes were considered only as artifacts giving minimum information about life and military affairs. The researchers have already noted not only utilitarian function, but also unquestionable artistic value in connection with Scythian findings. Ancient nomads of Steppe "were able to please" the taste of captious Europeans this time! Even the most sophisticated expert of the fine arts can hardly refrain from exciting emotions when he sees such a variety of ornamental motifs, compositional solutions, the wealth of used materials, such virtuosity and fantastic imagination of fantastic plot [5, p. 170].
The nomadic world of the middle of the 1st millennium BC developed a special relation to the figurative beginning in their works. We see always an action expressed plastically, ornamentally or figuratively as getting to know any work of the art of the Scythians. The imagery also lives by this action. But here the action is
more than translated into a visual language from a verbal one, because it includes both a thought and an object. Borders between the skill of the warrior and artist in the Scythian world are erased.
An attack scene of mighty eagle on elk was represented on one decoration of the saddle cover from the first Pazyryk barrow. The eagle - a bird, which generously giving inspiration both in the battlefield and in a craft workshop. It is possible infinitely to admire plasticity, precipitance and greatness of this inhabitant of the heavenly spaces. Famous ethnographer L.Y.Shtern-berg wrote that "already one power of this mighty feathery inspires a special attitude to it. But lightninglike inflamed eye of the eagle, mighty rapid flight, which impress like the eagle rises to the sun. Even the sun is called a bird in Rig Veda. The eagle is a god of wars and victories and as a thunder bird strikes enemies. That's why it appears as a symbol of power on banners, etc." [14, p. 96]. What sense did the master put in this image? In case of the observance of the nomads and their living interest in the world around them, unlikely they would describe simply the scene, which they could see in the nature.
Ancient Altaians perceived the idea of universal significance in this plot. They learned and understood the reality not through abstract concepts, but through metaphors expressed in tangible concrete images. It can be agreed quite literally that all Siberian nomads were poets! Indeed it is poets who are able to explain and express everything without resorting to logical reasoning, to certain syllogisms, but by arming themselves with only visual thinking and sense of rhythm.
Here Pazyryk master sings of the life in its eternal irreversible movement with its severe laws based on the opposition of good and evil, heavenly and earthly. Not the cruelty of a predator's triumph over a victim delights an ancient master, but the great essence of this action and the spectacular beauty of the duel do. No one else as Steppe warrior always, even during sleep and eating, being on the saddle and ready to accept fight was able to appreciate grace and agility, speed and strength. What was the meaning of his life could not but cause an emotional response. All days of the nomads pass in motion, deadly danger can lie in wait at every step. These people existed in an atmosphere of constant spiritual and physical tension. Their art is deeply poetic and imaginative.
The imageries of Scythian animal style are the core of living full-blooded works. Artist-nomad didn't care as they say "to confide the harmony by algebra". He was so close to nature that harmony of the world, the universe was at the same time his inner harmony.
Creating their works, Scythian masters embodied such images, in which the everyday observation of nomads and their ideas about the world laws of harmony were reflected. It is interesting to emphasize that there are many fighting scenes in Scythian fine art. Images of fine arts are closely related to the art of fighting. Watching the fight of animals, Scythians learned courage, dexterity and battle craft from them.
Scythians chose tactics of close hand-to-hand fight and aimed to impose it on enemy; struggle with the help of battle chariots and long copies, which were practiced
by the Assyro-Babylonian world, were strange to them. So, it is possible to speak surely about the historical existence of such a phenomenon as Scythian "fighting art" [14, p. 95]. It is difficult, almost impossible to describe what it was. It is clear only that skill of warlike Scythians not only served their high political status in the historical arena, but also inspired and generated the fine arts, which was unique, amazing in its way of expression. Here it is impossible not to remember S.I.Rudenko's remarkable words that the considered "silhouette compositions are a product of individual artistic creativity and remarkable skill. Of course, not imitation of other people's samples, but the free creativity of a capable artist gave all these wonderful things" [9, p. 95-100].
Perhaps, the idea of the duality of surrounding world was close to the world of the ancient nomads of Siberia, the ability of one beginning of existence passed to another. The perception of fighting scenes gets a special color at this level of consciousness. We see not just a drawing of the daily events and even not a story about some legendary battles happened in Great times, but the live reflection of the Great Law, in which was awed and worshiped, and the most importantly, plentiful source of inspiration and the will to live were seen only in it.
K.G.Jung's words are quite correlative with outlook of Scythian warrior and artist that "life is a battlefield: it has always existed, will always exist; if it is not so, life would come to an end" [12].
We are convinced on examples of Scythian animal style that imagery for ancient nomads is a special reality inspired by their imagination, and an expression of complex mythopoetic ideas. We feel the integral and emotional perception of life fully in artistic images created by Scythian masters.
The imagery in the art of primitive people is complex and many-sided. The imagery impresses by its inner emotional intention and singularity of the visible form in every work of rock and portable ancient art, which is not always understandable for modern audience and was little prepared for the perception of primitive art.
It is worth to note that the creation of the imagery was not at all the goal of the primitive master, most likely the imagery acted as one of the familiarizing means of man with power of nature. Just as shaman, who uttered a certain magical formula, contacts with powers of nature or spirits, as well as an ancient artist, who caved a rock composition, entered mystical unity with the surrounding world, tried to propitiate spirits or gods, aimed to establish a balance and harmony in the universe. So, the imagery was endowed by magical and ritual functions.
The existence of an imagery depends on many factors, among them - structure of real prototype of an image, creator's peculiarities of this image, consciousness of one who perceives an image. It is known that the imagery can express the universal in a form of a single. According to Y.I.Romanova, "an image is the basic form of a human perception" [8, p.44]. The study of imageries created by primitive masters helps us to come closer to awareness of the peculiarities of our remote ancestors' world outlook and spiritual harmony. During
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work we came to the conclusion that an image often merges in a single whole with that object or meaning in mythopoetic consciousness that all these designate this image. The image in primitive art is not conditional and primitive, it incarnates a certain mythologema laconically and expressively. The image is a result of an ancient artist's everyday observations and experiences, as well as almost always the imagery is associated with certain ritual functions in primitive art. An imaginative beginning in the most ancient monuments of the fine arts is closely connected with the peculiarities of the life rhythm of the primitive society, so images created by nomadic peoples differ from those that created among ancient farmers. There is static in images created by settled people, but nomads created dynamic imageries filled with warlike pathos. Nevertheless, the imageries are expressive and conceptual in all primitive cultures (both in settled and in nomadic). As a rule, an artist gives not so much a specific object and even not an idea of this object by an image - it was essential for a primitive master to characterize an action, because exactly action is important defining feature of this and that object for many primitive and traditional peoples. The image acts also as the most important element of sensual and poetic knowing of the surrounding world in the primitive art. According to M.F.Albedil, "knowledge was coloured valuable and emotionally and was associated first of all with action, which is also perceived as ritual" [9, p.97]. Ritual significance of the most ancient monuments doesn't contradict the fact that the aesthetic expressiveness and imagery are peculiar to them. What idea of Neolithic creators was about beauty? A definite answer to this question will never be got. Primitive masters, who were carriers of animistic thinking, endowed all in the surrounding world by a living soul, so the whole ancient world was perceived as spiritual and possibly beautiful by its nature, unity. Really, one of the most important characteristics of the imageries in the art of primitive peoples is mythopoetic basis providing perception of the world as a whole. Considering the peculiarities of primitive art it is important to take in account that the ancients had a peculiar way of thinking. According to F.H.Cassidy, "originally the nature and its productive forces are presented as a whole and living being, which makes a sacrifice, accepts it and becomes a victim simultaneously. This stage is undivided (mythological) thinking" [4]. Indivisibility of such thinking causes an idea of the Universe as a collection of forms flowing from one to another. Those images, which we perceive as fantastic (centaur, sphinx, griffon, etc.), are quite realistic for the primitive consciousness, because there is no difference between the reality and supernature for the most ancient creators. We see many images of animal struggles created by Scythian creators in the art of Scythian-Siberian animal style that it is associated with peculiarities of the ancient Siberian nomadic-warriors' life. Watching the fights of animals, Scythians learned dexterity, courage and fighting skill from them. It is interesting to note that if we look at images of animals carefully, we learn characteristic fighting positions, which are also used in some types of fighting arts today and have ancient historical roots. So, when Scythians depicted scenes of struggle between
animals, they reproduced generalized, integral and poetic images of struggles. It worth to note that there is no pathos of cruelty in images of Scythian animal style, struggles appear as a way to harmony in these images [2]. Perhaps, the ideas of duality of the surrounding world were close to the ancient nomads' world of Siberia, the ability of one beginning of existence pass to another. So, considering imageries in the most ancient monuments of the fine arts, we are trying to understand the spiritual bases of preliterate culture and civilizations.
The aspiration to realize the remote past, to appreciate the attitude of ancestors give us chance to learn ourselves, to feel archetypical elements that penetrate the culture and everyday life these days. The study of figurative expressiveness of the most ancient art works draws our thoughts to the very source of universal culture and spirituality, and this is valuable for modern mankind losing its inner harmonious connection with nature. In the conclusion it is worth to remember famous thinker of the 20th century K.G.Young's words about the advantage that primitive people had: "... The man doesn't already hear the voice of stones, plants, animals and doesn't talk with them and but believes that they hear him. His contact with nature disappeared, and the deep emotional energy also disappeared with it, which this symbolic connection gave" [15].
In conclusion, the scientific results are presented: Considering the cultural mentality of the Caucasus, it is important to emphasize the idea of the well-known Turkologist L. N. Gumilev that "new cultures do not arise in monotonous landscapes but on the borders of landscape regions and in areas of ethnic contacts where Intensive metisation is inevitable. Equally favorable to the starting points of ethnogenesis are the combination of different cultural levels, types of farming, dissimilar traditions. The common point here is the principle of diversity, "which can be interpreted from our positions. Formed in the original natural conditions - the internal area of the Caucasus, Azerbaijan, which joined the East and West since ancient times, the cultural traditions of tribes and peoples absorbed the diverse influences of the cultures of neighboring peoples and states, and then created its complex, distinctive and integral culture [10].
The features of the artistic worldview of the Turkic peoples are characterized by peculiarities that most clearly contribute to the transmission of images and perceptions of the other world and are generally defined as the following: addressing the issue of self-identification; presence of collective and unique images of another people; style features; more artistic awareness of time and spatia.
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