Sculptor Eider Aliyev. Return of the master
Запись от Станиславский размещена 17.04.2011 в 21:03
I saw the Crimea without covers,
He was like a dry spring.
Though the sun warmed the mountain,
But sorrow was wafted from them ...
Boris Chichibabin.
When we talk about the art of the Crimea, we often mention the "Cimmerians" - Aivazovsky, Bogaevsky, Voloshin - with their bizarre romance of the sea, Cimmerian cliffs and hills, valleys and deserted beaches, with their epic triumph of the elements and almost no rights. We can also say about the "impressionist" of the Crimean branch of art - from Korovin to Stolyarenko and Zakharova, with their play of light and shade, with an almost palpable warmth of sunshine, smell the sea and lilacs.
However, we sometimes forget about the root of the art of the Crimea, about the exiled, but not killed the art of Cimmeria, which we sometimes hinted Voloshin Bogaevsky.
Hermann Hesse wrote: "The origins of music - far in the past. It comes from action and has a great root of unity. Great unity bear two poles, two poles will give birth by dark and light ... Music landscaped century calm, joyous, and the board evenly. Music tumultuous century excitement and fierce, but the board erroneously ... "This is a" great unity "with" unrest century we find in art remarkable Crimean sculptor and painter Eider Aliyev.
The tragic fate of the people, mocked and tortured, but not devoid of genetic and historical memory, it becomes the main theme of contemporary arts of the Crimean Tatar and, in particular, one of the main themes in the work of Aliev. Sculpture "The Island" - perhaps the most vivid illustration of this national consciousness, compressed to the island, lost in the middle of an alien element, but also is an entire universe, a kind of model of the universe.
Read More ...
This theme continues sculpture "Origins", where two figures - a man peering into the distance, and standing next to a camel - are based on the same likeness of a lonely island, reminiscent of the surface sands of the desert, and form - the horse's head, this kind of totem, a symbol of the collective consciousness. The sculptor, like most of his countrymen, was born and lived most of his life in Uzbekistan, the earth-friendly, but infinitely stranger. Pristalen view the wanderer in his figure - tired out, and at the same time, the inescapable hope for an appearance on the horizon of the promised shores.
The symbolism of the return to the roots can be traced in the sculpture "The Prodigal horse." A huge horse with a sad eyes of a child are lucky to own a small cart. The horse in the archaic symbolism of the Crimea - a cult animal. He represents holiness, the eternal dream, a path to God and to themselves. And while the cart fell almost to the point size, it still is, and hence, there is hope.
How to start a difficult way of revival of the people, the nation? Artist answers this question unequivocally - with the family. Family - is the grain from which to bark future results. Let it yet amorphous, not yet acquired a clear and complete forms, albeit it is still family-embryo creation, not yet separated from the primeval matter. This kind of "prasemya" Adam, Eve and their children, but that they are destined to become the new praobrazom perfection. That is why we see the beginnings of wings behind Mother, Father and Children.
If the family - the fundamental principle of all, the fundamental principle of the family - a woman. The image of women in archaic Aliyev, generalized and symbolic. It is felt deep connection with the works of Alexander Archipenko and Emile Bourdelle. Woman - is nature itself. The underlying essence of nature - a harmony, and expression of this harmony to the artist is female beauty. Contemplating the images of women performing the most simple and uncomplicated action, there is persistent sense that they perform a strict and mysterious ritual.
Most impressive, in my opinion is the image of Arzu (The Dreamer), created out of black stone. Black for the Crimean archaic art is not accidental. Neither area is not full of so many names, where the word "kara" (black) would be repeated so regularly. As a veiled beauty. Karadeniz, Karadag, Karasu Karasubazar ... black color gives a special sacred meaning. This nenazvannost rather than the name, the inner meaning itself.
Crimean Tatar art feels glade in its development, created by years of stagnation. Returning to their ancestral lands, the artists feel the need to folk art, which would help restore the broken connection and continuity. Hence an appeal to folk material, with meaningful positions endured suffering, in which artists are looking for the origins of preserving national and cultural identity. Aliev is a series of "People's motives." Popular in his breaking away from the domestic and ethnographic, this is kind of a system of symbols, not only imprinted on the past and present, but also reveal the future, participating in its creation. One of the most striking features of his people's images - they ikonografichnost.
However, we can not name the artist only a singer with ancient. " His works have absorbed the best achievement of European art. His work is read and the syncretic symbolism of Rodin and the search for new forms, and the tension of the plot of Henry Moore. In this connection, I venture to bring the analogy of the artist with the concept of the German sculptor Joseph Beuys, who fought during WWII pilot on the Eastern Front, was shot down over the Crimea and miraculously saved from death by the Crimean Tatars. Boyce, who survived a second birth was in the Crimea, became the discoverer of a new page in the understanding of the plastic language of sculpture and art in general. He preached the concept of a Eurasian integrity without the political and aesthetic boundaries. Boyce saw in the Crimea a secret Eurasia, and grasped the phenomenon of the Crimean Tatars as a nation absorbed the elements of both worlds - east and west. That is, in my opinion, creative method Eider Aliyev, assimilated all the best from the cultures of northern, Far and Middle East on one side and the northern, southern and central Europe - with the other.
Sculptor Aliyev reminds me of the hero's remarkable film Sokurov's Days of Eclipse who gained their best features far from the homeland of their ancestors. The world of the Crimean Tatar people waiting for the return of his master, his art, and I think it is coming is coming.
Illustrations from left to right:
"The Island". Bronze 19h31h10
"Origins." Stone, 29h46h19
"Prodigal horse, 2000, Casting, metal, bronze. 25h28h12
"Family". 1999 African stone. 36h24h17
"Migration. Family. Stone
"Tatar girl"
"Woman with apple
"The source". 2000 Wood. 65h11h14
"Dream." Stone. 2000, 29h16h18
"Return of the master." Bronze 38h12h14
Full article here:
http://www.artlover.com.ua/Sculptor-Aider-Aliev
He was like a dry spring.
Though the sun warmed the mountain,
But sorrow was wafted from them ...
Boris Chichibabin.
When we talk about the art of the Crimea, we often mention the "Cimmerians" - Aivazovsky, Bogaevsky, Voloshin - with their bizarre romance of the sea, Cimmerian cliffs and hills, valleys and deserted beaches, with their epic triumph of the elements and almost no rights. We can also say about the "impressionist" of the Crimean branch of art - from Korovin to Stolyarenko and Zakharova, with their play of light and shade, with an almost palpable warmth of sunshine, smell the sea and lilacs.
However, we sometimes forget about the root of the art of the Crimea, about the exiled, but not killed the art of Cimmeria, which we sometimes hinted Voloshin Bogaevsky.
Hermann Hesse wrote: "The origins of music - far in the past. It comes from action and has a great root of unity. Great unity bear two poles, two poles will give birth by dark and light ... Music landscaped century calm, joyous, and the board evenly. Music tumultuous century excitement and fierce, but the board erroneously ... "This is a" great unity "with" unrest century we find in art remarkable Crimean sculptor and painter Eider Aliyev.
The tragic fate of the people, mocked and tortured, but not devoid of genetic and historical memory, it becomes the main theme of contemporary arts of the Crimean Tatar and, in particular, one of the main themes in the work of Aliev. Sculpture "The Island" - perhaps the most vivid illustration of this national consciousness, compressed to the island, lost in the middle of an alien element, but also is an entire universe, a kind of model of the universe.
Read More ...
This theme continues sculpture "Origins", where two figures - a man peering into the distance, and standing next to a camel - are based on the same likeness of a lonely island, reminiscent of the surface sands of the desert, and form - the horse's head, this kind of totem, a symbol of the collective consciousness. The sculptor, like most of his countrymen, was born and lived most of his life in Uzbekistan, the earth-friendly, but infinitely stranger. Pristalen view the wanderer in his figure - tired out, and at the same time, the inescapable hope for an appearance on the horizon of the promised shores.
The symbolism of the return to the roots can be traced in the sculpture "The Prodigal horse." A huge horse with a sad eyes of a child are lucky to own a small cart. The horse in the archaic symbolism of the Crimea - a cult animal. He represents holiness, the eternal dream, a path to God and to themselves. And while the cart fell almost to the point size, it still is, and hence, there is hope.
How to start a difficult way of revival of the people, the nation? Artist answers this question unequivocally - with the family. Family - is the grain from which to bark future results. Let it yet amorphous, not yet acquired a clear and complete forms, albeit it is still family-embryo creation, not yet separated from the primeval matter. This kind of "prasemya" Adam, Eve and their children, but that they are destined to become the new praobrazom perfection. That is why we see the beginnings of wings behind Mother, Father and Children.
If the family - the fundamental principle of all, the fundamental principle of the family - a woman. The image of women in archaic Aliyev, generalized and symbolic. It is felt deep connection with the works of Alexander Archipenko and Emile Bourdelle. Woman - is nature itself. The underlying essence of nature - a harmony, and expression of this harmony to the artist is female beauty. Contemplating the images of women performing the most simple and uncomplicated action, there is persistent sense that they perform a strict and mysterious ritual.
Most impressive, in my opinion is the image of Arzu (The Dreamer), created out of black stone. Black for the Crimean archaic art is not accidental. Neither area is not full of so many names, where the word "kara" (black) would be repeated so regularly. As a veiled beauty. Karadeniz, Karadag, Karasu Karasubazar ... black color gives a special sacred meaning. This nenazvannost rather than the name, the inner meaning itself.
Crimean Tatar art feels glade in its development, created by years of stagnation. Returning to their ancestral lands, the artists feel the need to folk art, which would help restore the broken connection and continuity. Hence an appeal to folk material, with meaningful positions endured suffering, in which artists are looking for the origins of preserving national and cultural identity. Aliev is a series of "People's motives." Popular in his breaking away from the domestic and ethnographic, this is kind of a system of symbols, not only imprinted on the past and present, but also reveal the future, participating in its creation. One of the most striking features of his people's images - they ikonografichnost.
However, we can not name the artist only a singer with ancient. " His works have absorbed the best achievement of European art. His work is read and the syncretic symbolism of Rodin and the search for new forms, and the tension of the plot of Henry Moore. In this connection, I venture to bring the analogy of the artist with the concept of the German sculptor Joseph Beuys, who fought during WWII pilot on the Eastern Front, was shot down over the Crimea and miraculously saved from death by the Crimean Tatars. Boyce, who survived a second birth was in the Crimea, became the discoverer of a new page in the understanding of the plastic language of sculpture and art in general. He preached the concept of a Eurasian integrity without the political and aesthetic boundaries. Boyce saw in the Crimea a secret Eurasia, and grasped the phenomenon of the Crimean Tatars as a nation absorbed the elements of both worlds - east and west. That is, in my opinion, creative method Eider Aliyev, assimilated all the best from the cultures of northern, Far and Middle East on one side and the northern, southern and central Europe - with the other.
Sculptor Aliyev reminds me of the hero's remarkable film Sokurov's Days of Eclipse who gained their best features far from the homeland of their ancestors. The world of the Crimean Tatar people waiting for the return of his master, his art, and I think it is coming is coming.
Illustrations from left to right:
"The Island". Bronze 19h31h10
"Origins." Stone, 29h46h19
"Prodigal horse, 2000, Casting, metal, bronze. 25h28h12
"Family". 1999 African stone. 36h24h17
"Migration. Family. Stone
"Tatar girl"
"Woman with apple
"The source". 2000 Wood. 65h11h14
"Dream." Stone. 2000, 29h16h18
"Return of the master." Bronze 38h12h14
Full article here:
http://www.artlover.com.ua/Sculptor-Aider-Aliev
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