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АРХИТЕКТУРА И ГРАДОСТРОИТЕЛЬСТВО. РЕКОНСТРУКЦИЯ И РЕСТАВРАЦИЯ
RESEARCH PAPER / НАУЧНАЯ СТАТЬЯ UDC 7.033(479.24)
DOI: 10.22227/1997-0935.2022.1.11-20
Medieval Azerbaijan and the development of its visual media
Firuza T. Badalova
Azerbaijan University of Architecture and Construction (AUAC); Baku, Azerbaijan
ABSTRACT
Introduction. One of the main features of medieval structures created by Azerbaijani architects and sculptors is the artistic form decorated with elegant designs. Monuments with ornaments are found on buildings that serve as information carriers of the epoch (cult and memorial buildings, baths, castles, palaces, bridges). Since the 11th-12th centuries, the placement of various ornaments on monuments has become an integral part of Azerbaijani art.
Materials and methods. The use of various types of ornaments has led to the emergence of new architectural schools. Results. Monuments created by medieval architects: Ibrahim ibn Osman (Ganja Gate, 1063), Adjami Abubekr oglu Nakh-chivani (Yusif ibn Kusayr mausoleum in Nakhchivan, 1162), Momuna Khatun (Mausoleum of Momuna Khatun, 1186), etc. highlighted by their visual representations. Brief information about the history and architecture of the monument is inscribed on the stone slabs (Sayyed Yahya Bakuwi mausoleum, Maiden Tower, decorative patterns on the portal of the eastern gate of the Shirvanshah complex, etc.). Beginning in the Middle Ages, emergence of Azerbaijani architectural schools began in Arran, Nakhchivan, Shirvano-Absheron and Tabriz schools. Unlike the Middle Ages, nowadays visual information is more widely used on roads, in parks, on crossroads.
Conclusions. The formation of the architectural environment in the 11th-12th centuries revealed the styles of Baku, Ganja, Nakhchivan, Gabala and Arran. The Middle Ages played elegant ornaments in the form of a rose, geometrical, plot, legendary, mixed, and stamped. It has been established that the model of the city, based on ancient historical and theoretical < DO studies, can be improved. The increasing importance of information requires the use of architectural, artistic, and aesthetic s c elements. In the 21st century elegant ornaments with visual power remain relevant in the urban environment. 3 H
KEYWORDS: national ornaments, elements of visual communication, architecture, visual culture, signs, ancient, urban g " environment Q ^
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FOR CITATION: Badalova F.T. Medieval Azerbaijan and the development of its visual media. Vestnik MGSU [Monthly Jour- . < nal on Construction and Architecture]. 2022; 17(1):11-20. DOI: 10.22227/1997-0935.2022.1.11-20 (rus.).
Corresponding author: Firuza T. Badalova, f.badalova.84@mail.ru.
Особенности развития визуальных медиа
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Фируза Тофиг кызы Бадалова
Азербайджанский архитектурно-строительный университет (ААСУ); г. --^
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Введение. Одной из главных особенностей средневековых сооружений, созданных азербайджанскими архитекто- § 6
рами и скульпторами, является художественная форма, украшенная изящными узорами. Памятники с орнаментами С ®
встречаются на зданиях, которые служат информационными носителями эпохи (культовые и мемориальные соору- °
жения, бани, замки, дворцы, мосты). Начиная с XI—XII вв. размещение различных орнаментов на памятниках стало С о
неотъемлемой частью азербайджанского искусства. ЕГ О
Материалы и методы. Использование различных видов орнаментов привело к появлению новых архитектурных школ. • )
Результаты. Памятники, созданные средневековыми архитекторами: Ибрагим ибн Осман (Гянджинские ворота, ^ •
1063), Аджами Абубекр оглу Нахчивани (мавзолей Юсифа ибн Кусейра в Нахичеване, 1162), Момуне хатун (мав- О О
золей Момуне хатун, 1186) и др., выделялись своими визуальными образами. Краткая информация об истории с ^
и архитектуре памятников записана на найденных каменных досках (мавзолей Сейида Яхья Бакуви, Девичья баш- е 7
ня, декоративные узоры на портале восточных ворот Ширваншахского комплекса и др.). Начиная со Средних веков ^ Г
зарождение азербайджанских архитектурных школ началось в Арранской, Нахичеванской, Ширвано-Апшеронской, . ОН
Тебризской школах. В отличие от Средневековья, в наше время визуальная информация более широко применяет- ^ □
ся на дорогах, в парках, на перекрестках улиц. Ю С
Выводы. Формирование архитектурной среды в XI—XII вв. выявило стили Баку, Гянджи, Нахичеваня, Габалы и Арра- г г
на. Важную роль на памятниках в эпоху Средневековья играли изящные орнаменты в форме розы, геометрические, , ,
сюжетные, легендарные, смешанные и гербовые. Установлено, что модель города, основанная на результатах древ- м м
них исторических и теоретических исследований, может быть улучшена. Постоянное повышение роли информации 2 2
требует использования архитектурных, художественных и эстетических элементов. В XXI в. изящные орнаменты, 2 2 обладающие визуальной силой, сохраняют свою актуальность в городской среде.
© Firuza T. Badalova, 2022
Распространяется на основании Creative Commons Attribution Non-Commercial (CC BY-NC)
КЛЮЧЕВЫЕ СЛОВА: национальные орнаменты, элементы визуальной коммуникации, архитектура, визуальная культура, знаки, древний, городская среда
ДЛЯ ЦИТИРОВАНИЯ: Бадалова Ф.Т. Medieval Azerbaijan and the development of its visual media // Вестник МГСУ. 2022. Т. 17. Вып. 1. С.11-20. DOI: 10.22227/1997-0935.2022.1.11-20
Автор, ответственный за переписку: Фируза Тофиг кызы Бадалова, f.badalova.84@mail.ru.
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INTRODUCTION
The principles and methods, used in the traditional architectural environment of Azerbaijan, improve the relevance of the artistic design of structural elements by drawing attention to visual media.
Starting from the Middle Ages, tribes have used a simpler method of communication. They created methods and means to warn about the coming danger. The smoke and fire torches were the alarm signalling methods transmitting information over a distance. They were the means necessary to safeguard the human life and household [1]. Firewood, the ting of a hand-bell and beacon lights were widely used as signals [2].
In the following periods, visual information was conventionally provided in the form of a brief information block. Although this approach could generate a positive result in art, its application has absolutely different results in architectural creativity [3].
Hence, perfect forms were replaced with visual means. New forms were applied in architecture, art, etc.
MATERIALS AND METHODS
Starting from the 11th-12th centuries, the Azerbaijani architectural environment and its information carriers belonged in several styles in the cities of Aran,
Tebriz, Naxgrvan, §irvan, Ab§eron Baku, Shamakhi, Ganja, Nakhchivan, Gabala and Aran [3].
The Aran school of architecture was the first one in the history of Azerbaijani architecture. Some researchers believe there were architectural monuments in the city of Barda in Azerbaijan, which was part of the Arab Caliphate. A caravanserai, a mosque and religious buildings, a bathroom and a market were built there.
A combination of typological features of ancient and Islamic traditions were embodied in the visual form of medieval Azerbaijani architecture [4]. When Islamic traditions strengthened and feudal states gained independence, the Aran school of architecture began to emerge. The Aran school of Architecture reached Barda, Ganja and later Beylagan and Shamkir regions. The unique features of the Aran architecture and such visually striking monuments as Ganja Gates-Ibrahim Ibn Osman (1063), Ganja earthquake (1139) and many other monuments taken to Georgia during the Mongol invasions of the 13 th century were destroyed. The inscription on the fence of the mosque in the Turkish city of Amasya, which was mentioned in the sources in 1236-1246, states that the Azerbaijani artist Maxmud oglu Moxammad left Azerbaijan and moved to Turkey after the Mongol occupation [5] (Fig. 1).
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Nakhchivan School of Architecture originates from Aran School of Architecture: they used thee same construction materials, such as cobblestone and masonry, in particular, the patterned Ganja masonry. In the Shamkir region, white stone was added to this type of masonry to make it more attractive. Archaeological excavations in Beylagan give an idea of a building, baths, 3 bridges (12th century) over the Ganja River [6].
Nakhchivan-Maragha school of architecture dates back to the 11th century; it is widely spread in Azerbaijan. The Middle Ages defined the stylistic features of the Azerbaijani architecture. The buildings belonging in the Nakhchivan school of architecture are decorated with paints, tiles, and ornaments that make them overwhelmingly attractive. The visual elegance and dynamism of ornaments is typical for the Nakhchivan school of architecture. Its architectural masterpieces include the tomb of Yusif Ibn Kuseir oglu, architect Memar Adjemi Nakhchivani (12th century), the tomb of Barda — architect Ahmad Bin Ayyub al-Hafiz Albanayi a Nakhchivani (13th century), the tomb of Blue Gun-bed in eastern Azerbaijan-Maragha (1194), the tomb of Red Gunbed (red dome), the architect Bakir Mohammad (1448), etc. [7]. The ornaments and inscriptions engraved on the monuments visually enliven the medieval period. The inscription on the tomb of Barda (1322) was studied in 1848 by famous orientalist Xan-ikov. The name Ahmad Bin Ayyub al-Hafiz Albanayi,
a Nakhchivani architect of this monument, is mentioned in the inscription1 [1].
Nakhchivan School of Architecture is an extremely valuable piece of art that carries on its traditions: the visual image of the tomb is covered with a vertical "shirt" with a turquoise brick. Repetitive ornaments along the facade make the tomb attractive. In addition, Koran verses are inscribed in the middle strip of the tomb frieze. The inscription is made on the white background and it has a mosaic decor of a blue lion and plants [8] (Fig. 2).
The palace and other interesting and valuable examples of the Azerbaijan architecture have appeared.
The Muzaffariyya architectural ensemble, that has a Juma mosque, a khanagah, a library, a madrasa, a tomb, and other buildings, is part of the monument rich in the visual information of the period [9]. The date of construction inscribed inside the main arch above the entrance to the ensemble (Hidjri — 870, Milad — 1465), Koran verses inscribed by calligrapher Neymatul-lah bin Mohammad al Bavvab are also mentioned [10]. The mosque is famous for its visual appearance. Engraved marbles, ceramic decor, mosaic-type decoration, white and turquoise patterns, and the facade were wonderful.
Over the history of the Azerbaijani architecture, the Shirvan-Absheron school of architecture has had stone-carved monuments rich in visual information.
1 URL: https://www.academia.edu/12625168/RQ.M%C9% 99mm%C9%99dov
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As a result of archaeological excavations, architectural monuments and many pottery ornaments and household items belonging to the medieval city of Baku was discovered [11]. At the same time, Baku is located on the Caspian coast; it has a strong geographical position in terms of trade relations. The port was the main reason for the arrival of merchants from Central Asia and the Caucasus. It features the nicest-looking pieces like the Maiden Tower, the Shirvanshahs Palace, Icher-ishahar, etc.2 [2]. The history has proven that the demand for the aesthetic improvement is growing in various districts of Baku, including Icherishahar. However, architectural masterpieces in all areas of the city have not yet been adequately presented. The environment cannot be reduced to architectural design, but it also has a wide range of psychological effects, we need to prove that it has a strong research and mathematical backgrounds [12] (Fig. 3).
Limestone was used to make the monuments conveying the city's antiquity. The Icherishahar castle has the status of a state architectural reserve. It was designed by architect Mohammad ibn Abu Bakr (1078-1079). The tower of Bibi Heybad Mosque (1305-1313) gives information about the existence of an astronomical
2 URL: http://www.anl.az/down/meqale/respublika/2019/ sentyabr/672903(meqale).pdf
object [13]. The buttress of the Maiden Tower breaks the waves of the Caspian Sea and serves as the chronograph that indicates the historical age of the masonry and ancient carvings [14]. In addition, the name of the builder on the masonry indicates that monuments are carriers of visual information.
There are small buildings around the Maiden Tower that are regarded as a goldmine of information.
As the time progressed, inscriptions, such as multi-layered pictograms and graphic forms in historical images, became true art.
Information in the news and communication systems can be received and transmitted at the same time. Several methods were chosen to test this technique: the data were conventionally presented in a very small block of information [15]. If this approach could have had a positive effect on art, it would have manifested itself in an architectural work in a completely different way. Visual means allowed creating a perfect form scattered over the volume (over the structure of the form, over the architectural solution, over the artistic design, etc.). The information remained clear in the course of a few hundreds of years. In this case, the predominance was conveyed in graphic images in the news and media of the architectural age, while visual aids facilitated the creation of a captive form. At the same time, the environment manifests itself in the structure
Plan of Bibiheybat mosque. Monuments in the plan in the picture Monuments shown in figures: 1 — Ancient mosque. 2 — Tomb. 3 — Arcade. 4 — Tower. 5 — New mosque. 6 — Output account. 7 — North Gate. 8 — South Gate. 9 — Service room. 10, 11, 12 and 13 — Graves
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of the architectural solution of the volume and artistic design. Pieces of architecture serve as the means of communication focused on generating the cultural environment in terms of space: a constructive element or decorative elements conveying the artistic language of architecture [16].
The analysis proves that visual images that adorn pieces of medieval Azerbaijani architecture are not real images, but the product of human thinking. Architects who have benefited from different lifestyles contribute their ideas to the appearance of buildings. For example, the masonry of the Maiden Tower or the masonry of the Juma mosque has brief information engraved on the stones (the name of the master, the date of the building construction completion, etc.). From this point of view, the Iche-risheher can be called a goldmine of information.
Information is conveyed by the way a piece of architecture is designed and structured (the Maiden Tower), as well as the way the elements of buildings are designed. For example, visual communication played an important role in the artistic arrangement of the environment. Some decorative elements are purely decorative [17].
Let's take Kufi inscriptions. They are displayed as letters written on stone. Hence, religion, literature, art, and architecture embody a unique structure that has not lost its value over the centuries (the tomb of Seyd Yahya Bakuvi, the Maiden Tower, decorative patterns on the portal of the eastern gate of the Shirvanshahs complex, etc.) [18].
If the clarity of information shared by medieval architectural monuments could remain unchanged over a few hundreds of years, the monument found itself in a completely different environment. The media boosted the development of architecture and the use of building materials, that were, in turn, contributed to the artistic design of an architectural solution. Since limestone and glazed brick are the most widely spread building materials in the territory of Azerbaijan, the architectural decor consisting of endless geometric elements was used here. However, mixed types of masonry were also available. For example, castles, defensive walls, mosques, khanagahs, madrasas, mausoleums and other items of architecture played the main role in the formation of the cultural environment.
The buildings were surrounded by simple though asymmetrical compositions that can be regarded as information media; they were more frequent in buildings belonging in the Shirvan-Absheron architecture [19].
The Shirvan-Absheron architecture, which is an important component of the Azerbaijani architecture, strengthened the Shirvanshah state (during the Kasrani dynasty) and set the stage for the flourishing and development of the local architecture.
The stylistic features of the Shirvan-Absheron architecture include compositions created by engraved stone ornaments. Ornaments that represented delicate lines on local stones boosted the artistic value of the monuments. Such ornaments were made
on the best visible parts of monuments. These inscriptions had names of builders, architects and craftsmen. They are legible even now [20]. From this point of view, Icherisheher can be called a goldmine of information.
RESULTS OF THE RESEARCH
The Shirvanshahlar palace is a particularly rich source of visual evidence and inscriptions. At the same time, palace buildings have the names of sultans, emirs, chiefs, sheikhs, as well as the leaders of various religious organizations. Epigraphic inscriptions on the walls of the palace say that in the 13th-15th centuries the palace was ruled by such religious feudal organizations as "sedir" or "sedir muazzam". The decorative patterns on the portal of the eastern gate of the palace facility demonstrate the local characteristics of historical architectural structures [21].
Thus, religion, literature, art, and architecture embody the culture of the people in the forms that convey the art of architecture, that has not lost its value over the centuries.
In M.S. Neymat's research, the word "sedir al muazzam" is preceded by the word "sedir al mohterem" and the nickname given to "sedif' means "an honorable person" [22].
Many Azerbaijani artists, architects and craftsmen use various artistic forms. These forms can be divided into six main groups: 1) Nebati; 2) geometric shapes; 3) subject drawings; 4) legends; 5) ornaments made of mixed inscriptions, and; 6) emblem-shaped images with symbolic meanings [23].
Nebati floral patterns were more widely used in the 15th-18th centuries. The artistic form was applied to the elements taken from the rich nature of Azerbaijan. Floral patterns were a combination of flowers, leaves, plants, and trees taken from the natural world [18]. These patterns can be seen in the Bulbul Mosque and the Shirvanshahlar palace (Fig. 4).
Geometric patterns
The research has shown that the decoration patterns that increase the visual impact of monuments, have geometric shapes. Broken lines (3-6, 8, 12-an-gled) were widely used (Fig. 5).
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Fig. 5. Momine-Khatun mausoleum's geometric ornament (1186)
Thematic painting
These are the scenes of hunting and war. They depict acts of war, cold relations between the neighboring states, confrontations, and losses (Fig. 6).
Legendary images
Animals, birds, zoomorphic and mythical images are visually enlivened pieces of art. In the ancient times, these formal ornaments were predominant in religious ceremonies. However, in the middle ages, they were associated with folklore and included in fairy tales and legends. Nowadays bird images (peacocks and nightingales) are preserved as precious exhibits, decorating many architectural samples.
The images of horses and lions, which were popular among Turkish-speaking people, were more widely used in the 16th and 19th centuries. These eloquently depicted figures (a sphinx with a human-lion head), that date back to the 19th century, can be found in Baku, on the edge of a double gate under a balcony (Fig. 7).
Ornaments composed of mixed inscriptions
Along with different visual images, we also come across mixed writing. Prose, basil, toqi, ruqe, kufi were widely used in different periods. These inscriptions include verses, prayers, poems, and historical facts taken from the Koran, as well as the facts about the architect and the customer (Fig. 8).
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Emblems and symbols are placed next to decorative paintings on documents and monuments. Emblems and symbols have a subjective nature. We come across wooden paintings in the interiors of many buildings of the 19th century (trees, pomegranates,
U > Fig. 7. Syncretic drawings on the bronze belt that dates back to the first millennium. Khojaly Karabakh
flowers). At the same time, in the emblems depicting animals, different tribes were separated from each other throughout the history. The images of the ram facing the monument also look like an emblem (Fig. 9).
These images demonstrate the high informational capacity of architecture. In Baku, the palace of Shirvanshahs has inscriptions informing about political and military events, construction of the palace building carved on the stones of the Sebail Castle. I. Jafarzadeh, an old archaeologist who has been examining these stones for many years, proved that human and animal silhouettes have a strong sense. It is noteworthy that in addition to images of real creatures, drawn on the Bayil stones, mythical images, drawn there include gryphons (eagle heads, lion bodies), vaq-vaq (tree trunks, depictions of human heads on branches), sphinxes (female heads and lion bodies that have wings). Thus, the research confirms that the characters, depicted in the syncretic images, are taken from the sagas and legends of the ancient Turkish-speaking people [24].
Fig. 9. The ram as an emblem. Zangilan district (1578)
All we can say about the middle ages is that as the collection of signs multiplied, they became more and more professional. Painters relied on their intuition and thinking.
Stereotypical methods were used to transform graphic information into visual information, which proves the existence of general patterns [25].
On the other hand, the fact that progress was reaching its climax ensured the emergence of multipurpose signalling tools. Changes in architecture were conveyed in the desire for enlightenment.
CONCLUSION AND DISCUSSION
The development of the architectural environment in the 11th and 12th centuries caused the development of the styles of Baku, Ganja, Nakhchivan, Gabala and Arran. Flower, geometric shapes, thematic painting, legendary and mixed images, coats of arms and fine ornaments played an important role in the monuments of the medieval period.
It should be noted that the visual images of the middle ages were a combination of attractive cultural, human, and national mindsets (Ateshgah temple built in Surakhani village in the 18th century, Divankhana located in the northern part of Shirvan-
shah's Palace was built by Shirvanshah Khalilullah in the 15th century).
Regardless of the availability of information, a person can take advantage of the visual data in an outdoor urban environment.
The history of our natural culture, social, economic, intellectual, creative and cultural ideas is very old. The spread of historical images should be brought to the fore over the years.
No matter how much information is available today, a person can adapt it to his needs by using various equipment.
Presently, the replacement of visual images with virtual ones makes the transfer capacity of modern technologies relevant in society [26].
At present, buildings that have historical inscriptions are protected by our state.
As a result of the analysis, it was established that the city model, developed on the basis of the results of ancient historical and theoretical studies, can be improved. The permanently increasing role of information requires the use of architectural, artistic, and aesthetic elements.
Elegant decorative ornaments featuring visual power are relevant in the urban environment of the 21st century.
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¡3 ^ Received October 21, 2021. Ijq ¡¡J Adopted in revised form on December 28, 2021. Approved for publication on December 29, 2021.
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Bionotes: Firuza T. Badalova — doctoral student, lecturer of the Department of Design; Azerbaijan University of Architecture and Construction (AUAC); 11 Ayna Sultanova st., Baku, AZ-1073, Azerbaijan; ORCID: 0000-00016653-6017; f.badalova.84@mail.ru.
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24. Houpin S. Urban mobility and sustainable development in the Mediterranean: Regional diagnostic Outlook. France : Plan Bleu, 2010.
Поступила в редакцию 21 октября 2021 г. Принята в доработанном виде 28 декабря 2021 г. Одобрена для публикации 29 декабря 2021 г.
25. Gottdiener M., Budd L. Key Concepts in Urban Studies. SAGE Publications Ltd, 2005.
26. Suarez F. Towards Experiential Representation in Architecture // Journal of Architecture and Urbanism. 2016. Vol. 40. Issue 1. Pp. 47-58.
об авторе: Фируза Тофиг кызы Бадалова — докторант, преподаватель кафедры дизайна; Азербайджанский архитектурно-строительный университет (ААСУ); AZ-1073, Азербайджан, г. Баку, ул. Айны Султановой, д. 11; ORCID: 0000-0001-6653-6017; f.badalova.84@mail.ru.
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