12 results on '"Gobustan"'
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2. A new species of the spider genus Harpactea Bristowe, 1939 (Araneae: Dysderidae) from Azerbaijan.
- Author
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Nuruyeva, Tamara V. and Huseynov, Elcin
- Abstract
A new species, Harpactea gobustanicasp. nov. is described from Gobustan area in central-eastern Azerbaijan. A detailed morphological description and illustrations of this species are provided. The new species is compared with closely related species H. achsuensis Dunin, 1991 and H. azerbaijdzhanica Dunin, 1991 known from Azerbaijan and H. parthica Brignoli, 1980 known from Iran and Turkmenistan. [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
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3. About specifics of rock art of Gobustan and some innovative approaches to its interpretation ("Firuz 2" shelter).
- Author
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Farajova, Malahat
- Subjects
- *
ROCK art (Archaeology) , *PETROGLYPHS , *ARTISTS , *ARCHAEOLOGY , *CAUCASIAN race - Abstract
Abstract The petroglyphs of Gobustan are an important historical source that allows us to get an idea about the material and spiritual culture of the population inhabiting the region in various historical periods. The analysis of the specific features of the creative process let us imagine how the ancient artists of Gobustan conveyed some aspects of their creative perception and specifics of their world view. In this respect, the "Firuz 2" shelter on Kichikdash Mountain in Gobustan is of special interest. "Firuz 2" lies at the foot of a vertically standing boulder oriented N-S. (stone №19). The archaeological site is located at the western side of this stone covered with petroglyphs. On this surface numerous female figures, images of hunters, animals and boats are fixed. Visual domination of images of female figures and boats make a uniform semantic plot. It should be noted that from Mesolithic and Neolithic occupation layers of Gobustan separate stones on which female figures near boats are also represented are found. It is quite possible that this composition is characteristic to this period. Images of female figures on stone №19 stylistically differ from each other and some of them are executed in profile with prominent bellies. Besides these, images of animals (aurochs, wild boars, onagers, gazelles, bezoar goats) were depicted on stone №19. Under the stone and on the north side, there is a strip of rocky blocks lying deep in the soil. On one of these rocks (stone 19-a), split in two parts, images of boats were recorded. The stone was found in the Neolithic layer. Images of boats of this kind are also registered on stone №19. On three of them the symbol of the sun is represented on the bow. In the Caucasian region, images of boats are only met in Gobustan rock art. Considering attentively these images of boats, can be supposed that they belong to the Neolithic period of Gobustan culture and existed throughout millennia. In order to get some chronological control, various methods were combined: analogies with stones found in cultural layers and bearing similar images, study of the stylistic features and the stratigraphic method. AMS dating of the cultural layers of the "Firuz 2" site allowed to understand the variability in the form and meaning of the petroglyphs of various periods. Previously, artifacts from the cultural layer of "Firuz 2" site had been dated to the end of Mesolithic and beginning of Neolithic period. The last AMS dating provided the result: 7850 ± 30 BP, which led to suppose that Gobustan was the earliest center in which navigation emerged in the Caucasian region. [ABSTRACT FROM AUTHOR]
- Published
- 2018
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4. Portrayal of a sea in a semiarid environment: Boat engravings in Böyük Daş, Gobustan.
- Author
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Sigari, Dario
- Subjects
- *
BOATS & boating in art , *ROCK art (Archaeology) , *ARID regions , *PORTRAIT prints , *TRANSGRESSION (Ethics) , *HISTORY - Abstract
Boat engravings represent one of the most recurrent and characteristic themes in Gobustan rock art. From a stylistic point of view informed by preliminary studies, it seems that boat figures have been engraved over a long span of time, suggesting the importance of the aquatic environment of the past. Today Gobustan is a semi-desert region facing the Caspian Sea, which has shaped the area during the millennia. Petroglyphs and transgression and regression movements of the sea have deeply influenced the landscape of Gobustan. Therefore the studied different boat engravings in Böyük Daş, one of the five rock art sites in Gobustan, for a deeper understanding and the kinds of relationship that existed between humans, sea-landscapes and the engraved figures. [ABSTRACT FROM AUTHOR]
- Published
- 2017
- Full Text
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5. The Study of Soil Cover Structure Southwestern Part of Absheron
- Author
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F. Manafova and G. Aslanova
- Subjects
Hydrology ,Soil cover ,General Medicine ,Gobustan ,soil cover ,Geology - Abstract
The problem of the connection of the structures of objects of nature (forms and their relationships) with their properties has always been relevant. There is a need to show on the map the natural structure of the soil cover, taking into account the topography. Such maps are used in theoretical studies and are practically applicable. Therefore, for many years, soil scientists have been searching for methods that would allow them to highlight soil structures on thematic maps. Based on the studies, the soil cover structures of Absheron and the adjacent territories of Gobustan were determined. Structures are formed by a combination of soil bodies. The internal qualities of these structures, their soil content, and the physicochemical and biological properties characteristic of them were determined. The paper provides a description.
- Published
- 2020
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6. Всемирное наследие Азербайджана
- Subjects
Icherisheher ,Azerbaijan ,Гобустан ,material cultural heritage ,наскальное искусство ,Ичеришехер ,Gobustan ,Азербайджан ,UNESCO World Heritage Site ,Шеки ,Всемирное наследие ЮНЕСКО ,Sheki ,материальное культурное наследие ,rock art - Abstract
В статье представлены краткий обзор объектов материального и нематериального культурного наследия Республики Азербайджан в Списках всемирного наследия ЮНЕСКО, а также объекты из Предварительного списка., The article presents a brief overview of the tangible and intangible cultural heritage of the Republic of Azerbaijan in the UNESCO World Heritage Lists., Журнал Института Наследия, Выпуск 2 (29) 2022
- Published
- 2022
- Full Text
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7. [Untitled]
- Subjects
Azerbaijan ,���������������������� ,carpets ,������������ �������� ���������������� ,tradition ,Gobustan ,boats ,culture ,epic ,horse ,The Book of Dede Korkut ,���������������� ,���������� ,�������� ,������������������ ,Turk ,miniatures - Abstract
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Azerbaijan is one of the countries with the most ancient human settlements: people created various kinds of implements and weapons (stone sticks, spears, bows and arrows, boats, etc.); among domesticated animals on the territory of Azerbaijan there was also the horse, which was used by people for various purposes. Ancient weaponry and various types of implements, skills of their use served as a basis for the development of high material and spiritual culture. The Gobustan rock carvings, miniatures and carpets are the samples of this culture. The folk epic also reflects this rich culture. The information preserved in the epic provides rich material for studying the traditional culture. Physical culture occupies special place in the history of Turkic traditional culture and is closely connected to the social values of the Azerbaijani people. The material of the Oguz epic allows concluding that only physically and mentally perfect people were considered full-fledged members of the society; that the rudiments of physical culture were formed in games and rituals and promoted healthy and safe life. The relevance of the study is to identify the reflection of important moments of the development of physical culture in various tangible and intangible cultural monuments of the people. The main purpose of the study was to investigate the origins of physical culture, which has a special place in the heroic epic and material culture. The theoretical and methodological basis of this study consists of scholarly and theoretical ideas of famous folklorists and ethnographers on traditional culture, including the intangible cultural heritage of the people. The object of the study was the samples of heroic epic (The Book of Dede Korkut and others) and material monuments of Azerbaijan. The subject of research was the physical culture presented in the oral folk art and material monuments of Azerbaijani people. With the use of the comparative-typological approach, the information on physical culture was revealed; by means of the historical-comparative analysis ��� genetic conformity. The scholarly novelty of the study lies in the fact that the data on physical culture found in the epic text and material monuments are involved in the study in comparison with similar information in other historical monuments., �������������� ������������-�������������������� ������������������������ ������������������������ ���������� ��.��. ����������������. Vestnik of North-Eastern Federal University. ���������� "������������������������. Epic studies", ������������ 3 (23) 2021, Pages 58-66
- Published
- 2021
- Full Text
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8. The effect of ancient Turkish symbols to modern Azerbaijani art
- Author
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Muradova, Turan and Temizel, Ö. Gökhan
- Subjects
Azerbaycan ,Azerbaijan ,Halı ,Symbol ,Damga ,Gobustan ,Carped ,Simge ,Seal - Abstract
Bu çalışmanın konusunu Eski Türk Simgelerinin Çağdaş Azerbaycan Resmine Etkileri oluşturmaktadır. Bu çalışmada, kadim sanat dilinin Azerbaycan resim sanatına olan etkilerinin neler olduğunun anlaşılması amaçlanmıştır. Türk kültüründe var olan maddi kültür unsurları tarih öncesi çağlardan günümüze kadar süregelmiştir. Bu çalışmada, maddi kültür unsurlarının 1960’dan sonra Azerbaycan resim sanatının merkezine yerleşerek yeni çözümlemelerin denendiği bir zamana işaret ettiğine, bulgular ile ulaşılmıştır. Ortak birer kültürel değer olan kozmogonik, mitolojik, dinî vb. simgeler, motifler, damgalar gibi geniş anlamları içerisinde barındırdığı düşünülen görsel mirasın kullanılması, Azerbaycan Resim Sanatında 1960lı yıllardan itibaren milli şuurun geliştirilmeye çalışıldığı dönemle paralellik gösterir. Bu bağlamda, çağdaş Azerbaycan resminin araştırıldığı konumuzda, Azerbaycanlı çağdaş ressamların çoğunluğunun maddi ve manevi kültür unsurlarını resimlerinde kullanmalarına etken sebepler üzerine durulmuştur. The theme of this study is consisted of the effects of the ancient Turkish symbols to modern Azerbaijani Painting. The aim of this study is to understand the effects of ancient art language on Azerbaijani Art of Painting. The material elements of culture existing in Turkish culture, have persisted since the prehistoric ages. In this study it has been revealed that after 1960, material elements of culture locating at the center of Azeribaijani Art of Painting points a time at which new analysis were tried. The usage of visual heritage is considered to shelter cosmogoni, mythological, religious etc values which are cultural values such as symbols, motifs and seals goes parallel with the term in which national consciousness was tried to be developed. In this context, in our theme in which Modern Azerbaijani Art of Painting is researched, the effective reasons of why most of the Modern Azerbaijani Painters mostly used material and moral cultural elements in their painting, are emphasized.
- Published
- 2021
9. Some indications of shamanism in Arasbaran rock carvings
- Author
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Jalal Rafifar
- Subjects
Arasbaran ,Soungoun ,Ghegham ,Gobustan ,Rock Carving ,Shamanism ,Archaeology ,CC1-960 - Abstract
Four seasons (1998–2002) of ethnological and archaeological researches in the northern part of the Iranian Azerbaijan have revealed hundreds of carved and scratched drawings and figures on rocks and in subterranean rock-shelters. An anthropological study reveals remarkable information about the situation and the limits of the cultural domains, the cultural relations and the process of cultural diffusion in the prehistory at the intersection of Anatolia, Caucasus, Zagros and the central plateau of Iran. The human and animals figures and signs are contextualized and ichnographically interpreted. The animal symbolism is discussed in the contexts of ancient Iran and Caucasus art and tradition.
- Published
- 2007
- Full Text
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10. Rock art in “The Land of Fire” (Azerbaijan): Discovering the Gobustan Rock Art Cultural Landscape (UNESCO World Heritage List)
- Author
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Fossati, Angelo Eugenio, Fossati Angelo Eugenio (ORCID:0000-0003-4229-9488), Fossati, Angelo Eugenio, and Fossati Angelo Eugenio (ORCID:0000-0003-4229-9488)
- Abstract
In 2003 I was requested by the UNESCO World Heritage Centre to lead a mission in the Republic of Azerbaijan with the aim of preparing a management plan for the Gobustan rock art area that the state of Azerbaijan wished to nominate to the World Heritage List. This project enabled me to learn about the beautiful and important rock art of Gobustan, today recognized with the name Gobustan Rock Art Cultural Landscape, one of the few rock art areas on the World Heritage List. The rock art spans from the Upper Paleolithic period to the end of Middle Ages with even a few engravings belonging to the Modern Era.
- Published
- 2018
11. Azerbaycan resim eğitiminin gelişmesinde Azerbaycan Azim Azimzade devlet ressamlık mektebinin önemi
- Author
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Uzun, Derya, Avşar, Ertuğ, Güzel Sanatlar Eğitimi Anabilim Dalı, Avşar, Mezahir, and Enstitüler, Eğitim Bilimleri Enstitüsü, Güzel Sanatlar Eğitimi Ana Bilim Dalı
- Subjects
Azerbaycan ,Baku State Painting School ,Bakû Devlet Ressamlık Mektebi ,Azerbaijan ,Fine Arts ,Paint education ,Azim Azimzade ,Gobustan ,Painting education ,Painters ,Resim eğitimi ,Güzel Sanatlar ,Painting art ,Azimzade, Azim - Abstract
Azerbaycan resim sanatı Türk kültür geleneğinin en eski örneklerini bir miras olarak sağlam şekilde korumayı başarmıştır. Gobustan kaya resimleriyle tarihin derinliklerinden günümüze kadar sürekli gelişerek gelmiş olan Azerbaycan resim sanatının dünya resim sanatı içerisinde farklı bir yeri ve önemi vardır. 1800'lü yıllara kadar Azerbaycan Minyatüründe İran etkisi görülmektedir. Sultan Mehemmed, Sadık Bey Afşar, Mirza Kadim İrevani gibi sanatçıların yapmış olduğu minyatürler bütünüyle Azerbaycan Minyatür anlayışını temelini oluşturur. Minyatürden resim sanatına geçişi Alibey Hüseyinzade sağlamıştır. Bir başka deyişle Azerbaycan modern resim sanatının başlangıcını da oluşturur. Bu anlayış Behruz Kengerli ile kendini göstermeye başlar. Azerbaycan Bolşevik Rusya'nın hâkimiyetine girmesiyle birlikte Sovyet resim sanatının etkisiyle sosyal realizme yönelmiştir. 1920'de Bakû'de Devlet Ressamlık Mektebi açılır. Kurucusundan dolayı okula A. Azimzade mektebi denilir. Bu okuldan pek çok ressam yetişmiş ve Azerbaycan sanatını şekillendirip yön vermişlerdir. Bu hareket Azerbaycan resmi için, millilik ve evrensellik yolunda önemli bir adım olmuştur. Mektep o dönemde Estetik Sanat şubesine başkanlık eden Azim Azimnzade'nin yoğun faaliyetleri sonucunda kurulmuştur. Avrupa tarzı eğitime uygun olan mektep Azerbaycan resim sanatının milli değerlerini korumuştur. XX. yy.a kadar geçen tarihi süreçte Azerbaycan Resim Sanatı, köklü geleneği ve zenginliğine yaraşır şekilde bir yol izleyerek milli ruhunu korumayı başarmıştır. Bu gelenek 1900'lü yıllarda sosyal realizmle, Azim Azimzade'nin sanat anlayışında yeni bir farklılık yaratır. Karikatür ile başlayan bu gelenek daha sonra siyasi pankart, kitap resmi, peyzaj, tiyatro dekorasyonu, grafik ve portre türlerinde gelişmeye başlar. Cumhuriyetin ilk ve tek profesyonel sanat mektebi olan bu kurum, Azerbaycan Sovyet resim sanatının gelişiminde çok önemli bir hizmet vermiştir. Bu araştırmadaki amaç, Azerbaycan sanatı bünyesinde Azim Azimzade Mektebi'nin faaliyetlerini anlatmak ve sanat eğitiminin paralelinde Azerbaycan Resim Sanatına kazandırdığı boyutu ortaya koymaktır. Azizm Azimzade ekolünün Azerbaycan resim sanatına katkıları sonucunda uluslararası şöhrete sahip pek çok Azerbaycan ressamı yetişmiştir. Bu da Azerbaycan resminin Sovyet hâkimiyetinden kurtularak kimlik kazanmasında etkili olmuş ve özgün yapısıyla evrensel değer kazanmasının yolunu açmıştır., Azerbaijan Painting Art succeeded to protect soundly the oldest samples of Oghuz Culture Tradition as an inheritance. Azerbaijan Painting Art that has been arrived to today through Gobustan Rock pictures from depth of history has a different place and importance in the world picture art. Iran affection is dominant in Azerbaijan Miniature in 1800s years. The miniatures that were made by artists as Sultan Mehemmed, Sadık Bey Afşar, Mirza Kadim İrevani have completely basic of Azerbaijan Miniature understanding. Alibey Hüseyinzade performed passing from miniature to painting art. In another mean, it composed beginning of Azerbaijan modern painting art. This understanding begins to show itself through Behruz Kengerli. Azerbaijan tends to social realism through Soviet Painting Art affections after Azerbaijan entered into domination of Russia. In 1920, state Painting school was opened in Baku. The school is called as A. Azimzade School due to its constituent. Many artists were grown in this school and they shaped and leaded Azerbaijan art. This action has been an important action for Azerbaijan painting in nationality and universality way. The school has been established at the end of intense actions of Azim Azimnzade who was president of Esthetic Art Branch. The school that is available for European style education protected national values of Azerbaijan Painting Art. Azerbaijan Painting Art has been succeeded to protect national spirit through following way worthily to long standing tradition and richness within historical period up to XXth century. This tradition creates a new distinctness in art understanding of Azim Azimzade through mixing with social realism in 1900s years. This tradition that begins with comics then begins to develop in political poster, book picture, landscape, theatre decoration, graphic and portrait kinds. This institution that is the first and sole professional art school of Republic provided very important service to develop Azerbaijan Soviet Painting Art. The objective in this research is telling activities of Azim Azimzade School within Azerbaijan Art and paralleling to art education to set forth gained dimension to Azerbaijan Painting Art. At the end of contribution of Azizm Azimzade ekol to Azerbaijan painting art, many Azerbaijan artists who have internationally fame have been grown. This has been affected to gain identity for Azerbaijan painting through escaping from Soviet domination and caused to gain universally values through its distinctive structure.
- Published
- 2011
12. Rock art in 'The Land of Fire' (Azerbaijan): Discovering the Gobustan Rock Art Cultural Landscape (UNESCO World Heritage List)
- Author
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Angelo Eugenio FOSSATI
- Subjects
Azerbaijan ,Settore L-ANT/01 - PREISTORIA E PROTOSTORIA ,Rock Art ,Gobustan ,UNESCO WHL
Catalog
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