Nizami’s image in monumental sculpture

Abstract

The formation and development of iconography of Nizami’s image in monumental sculpture is considered in the article. There is stressed that the monument of 1949 in Baku became a classical specimen of the poet’s iconography by Fuad Abdurrahmanov. Nizami’s monuments are analysed in Baku (1993), Sumgait (2007), St. Petersburg (2002), Rome (2012), Kaluga region (2016), Derbent (2020). High artistic level of the monument in Rome by Salhab Mammadov is noted. Nizami’s busts in Cheboksary (2004), Tashkent (2004), Kishinev (2011), Beijing (2012), Ljubljana (2016) became the object of the research. Nizami’s bust in Tashkent created by Ilhom Jabbarov introduces new original features to the iconography of the image. Multiculturalism was inherent in Nizami’s creation, his ideas common to mankind scale. Therefore it is not surprising that the personality and Nizami’s creative heritage inspired not only Azerbaijanian, but also Russian, Uzbek, Chinese sculptors to the creation of his artistic image.