www.mirnadir.com
ÙßÃÈÃßÒ ÀÕÒÀÐÛØÛÍÄÀ ßýÿð ñÿí ùÿð ýöí þç ÿëèíëÿ éîë ñàëàðàã ýåäèðñÿíñÿ, ëàéèã îëäóüóí éåðÿ ÷ûõàúàãñàí. Ãÿäèì Ìèñèð äåéèìè. Ìèð Íàäèð Çåéíàëîâ 1970-úè èëëÿðäÿí áàøëàéàðàã, 30 èëäÿí ÷îõ Àçÿðáàéúàí áîéàêàðëûüûíäà þç éåðèíè òóòàí ðÿññàìëàð íÿñëèíÿ äàõèëäèð. Áó èëëÿð ÿðçèíäÿ ðÿññàì àääûì-àääûì àðäûúûë îëàðàã ñÿíÿòäÿ þç éàðàäûúûëûã ïðîãðàìûíû éàðàòìûøäûð. Îíóí äÿñòèxÿtti ùÿìèøÿ òàíûíûð. Åìîñèîíàë, åêñïðåññèâ òàáëîëàðû þç ôÿðäè ìÿçèééÿòëÿðè èëÿ äàèì ñå÷èëèð. Ì.Í.Çåéíàëîâ òàpûnäûüû éàðàäûúûëûã ÿãèäÿñèíÿ îíèëëèêëÿðëÿ ñàäèã ãàëûð. ßëáÿòòÿ èëëÿð êå÷äèêúÿ Ì.Í.Çåéíàëîâ àõòàðûøëàðûíû ýåíèøëÿíäèðèð. Îíóí éàðàäûúûëûã öñëóáóíó ìöÿééÿíëÿøäèðÿí òÿðÿôëÿð äàùà ãàáàðûã öçÿ ÷ûõûð, äèýÿð èíúÿëèêëÿð èñÿ àðõà ïëàíà êå÷èð. Ðÿíýëÿðèí ôàêòóðàñû äàùà äà ìöðÿêêÿáëÿøèá ýþçëÿíèëìÿç ôîðìàëàð àëûð. Êàëîðèò òàáëîíóí öìóìè ìÿüçèndÿ ùÿëëåäèúè õàðàêòåðÿ ìàëèê îëóá ðÿìçè, åìîñèîíàë âÿ äöøöíúÿ ìÿíáÿéè êèìè áàøëûúà ðîë îéíàéûð. ßñÿðèí ìÿçìóíó ýåòäèêúÿ «äöíéÿâè âóðíóõìàäàí» óçàãëàøûð. Êîíêðåò ñóæåò õÿòòè ìåòàìàðôîçàéà óüðàéûá ïîåòèê ìåòàôîðëàðà, ôÿëñÿôè öìóìèëÿøìÿëÿðÿ êå÷èð. Ðÿññàìûí òàáëîëàðû þë÷öëÿðèíèí áþéöêëöéöíÿ, ðÿíý ñÿñëÿíìÿñèíÿ, ôàêòóðà ñàìáàëëûëûüûíà, åìîñèîíàë ýöúöíÿ áàõìàéàðàã çàìàí êå÷äèêúÿ äàùà èíòèì, ñÿíÿòêàð ãÿëáèíèí ñèððëÿðèíèí äàùàäÿðèí åòèðàôûíû þçöíäÿ ÿêñ åòäèðèð. Ì.Í.Çåéíàëîâ ôûð÷àñûíû ìöõòÿëèô ìÿçèééÿòëÿðäÿ òÿñäèãëÿéÿ áèëèá: Þç äàõèëè äÿéàíÿòèíÿ õÿëÿë ýÿòèðìÿäÿí, î, ýàù áó, ýàù äà äèýÿð úèñìàíè ìþâúóäëóüà èñòåùçà èëÿ íÿçÿð ñàëûð. Ãàðøûìûçäà ýàù àëÿìèí ñèððëÿðèíÿ äàëìûø òÿðêè-äöíéà ôèëîñîô, ýàù äà ÿùàòÿìèçäÿêè ìÿèøÿò «õûðäàëûãëàðûíû» ñåéð åòìÿéÿ ùàçûð îëàí àäè õÿéàëïÿðÿñò, áÿçÿí äÿ éàçûí ýÿëìÿñèíè ÷ûëüûíúàñûíà âÿñô åäÿí òÿáèÿò äÿëèñè úàíëàíûð. Ðÿññàìûí ãÿëáèíäÿ èäðàêëà òÿùòÿëøöóð,ùèññëÿ ñåéð÷èëèê åéíè äÿðÿúÿäÿ áÿðãÿðàð îëóá, áèðáèðèëÿ ìöáàðèçÿäÿ ìþâúóääóð. Áóíóí íÿòèúÿñèäèð êè, îíóí ÿëèíèí àëòûíäà ùèññëÿðèí ïàðòëàéûøûíà áÿíçÿð òàáëîëàðëà áÿðàáÿð ñîéóããàíëûëûãëà ãóðóëìóø äÿãèã òåêòîíèêàéà ìàëèê êîìïîçèñèéàëàð ÷ûõûð. Áÿçÿí ðÿññàì ðåàë àëÿìèí ýþçÿëëèéèíÿ äàëàðàã þçöíÿ òàì àñóäÿëèê âåðèð. Îíäà «Ìöãÿääÿñ áàùàð» âÿ «×è÷ÿêëÿéÿí àëáàëû» êèìè ýåäîíèçì âÿ ùåéðàíëûãëà äîëó ÿñÿðëÿð ìåéäàíà ýÿëèð. Ïëàñòèêà âÿ ìöúÿððÿäëèê Ì.Í.Çåéíàëîâóí ìÿíÿâè àëÿìèíèí èêè úÿùÿòèíè ìöÿééÿíëÿøäèðèð. Óøàãëûãäàí Õÿçÿðèí òöíä àá-ùàâàñû èëÿ áþéöìöø êþêëö-êþìÿê÷è Àáøåðîíëó ðÿññàì, ñÿðò òÿáèÿòèí Äàî éîëóíó òóòàðàã ýåäÿí ùàë ÿùëè-ôèëîñîôäóð. ßñëèíäÿ Äàî èíñàíûí òÿáèÿòëÿ ìöøòÿðÿê
éîëóäóð. Äàèì ýèçëÿíìÿêäÿ îëàí ùÿãèãÿò àõòàðûøû, áöòöí ìþâ÷óäëóãëàðûí ìÿíáÿéèäèð. Àõû òÿáèè âÿ ÿãëè, äöíéÿâè âÿ ìèñòèê îëàí íÿ âàðñà, äàèì äÿéèøìÿêäÿ, áèð-áèðè èëÿ ÷óëüàëàøìàãäà, áèðè î áèðèíèí õàññÿëÿðèíè êÿñá åòìÿêäÿäèð. Ì.Í.Çåéíàëîâóí òàáëîëàðûíäà äà ðÿíýëÿð äàõèëè åíåðæè èëÿ þç ñÿðùÿäëÿðèíè êÿòàí öçÿðèíäÿ ìöÿééÿíëÿøäèðÿðÿê öëâè ìÿíà èôàäÿ åäèð. Ìèð Íàäèð ö÷öí ðÿíýêàðëûã-ðÿíýëè ïîåçèéàäûð. Î, äöøöíúÿëÿðèíè ðÿíýëÿð âÿ ðÿíý ôàêòóðàñû èëÿ èôàäÿ åäèð. Ðÿíýêàðëûã ôîðìàñûíà, î, ÿòðàôäàêû áöòöí ìàääè àëÿìè òàáå åòìÿéÿ ùàçûðäûð. Êîëëàæ âÿ èíñòàëëéàñèéà åëåìåíòëÿðè ýåòäèêúÿ äàùà ÷îõ îíóí ðÿíýêàðëûã êîïïîçèñèéàëàðûíûí àéðûëìàç ùèññÿëÿðèíÿ ÷åâðèëèð. Ñàíêè ðÿññàì «àëòûíúû» äóéüóñó èëÿ áèçèì ýþðÿ áèëìÿäèéèìèç äþðä þë÷öëö àëÿìäÿ áàø âåðÿíëÿðè ùèññ åäèð. Éàðàäûúûëûã ïðîñåññèíäÿ ãöäðÿòëè ãÿáóëåäèúèéÿ ÷åâðèëèá ÿòðàô ìöùèòèí ñÿñëÿðèíè ñå÷èð. Î, áó åùòèçàçëàðûí ñòðóêòóðóíó àéäûíëàøäûðûð âÿ êÿòàíäà ýþðöìëö-áàõûìëû åäèð. Ìèð Íàäèðèí ìöúÿððÿä òàáëîëàðûíäà ðÿíýëÿð âÿ îíëàðûí ÷àëàðëàðûíûí íèñáÿòè ÿñàñ èôàäÿ âàñèòÿñèäèð. Ìÿùç êàëîðèò Ì.Çåéíàëîâóí ÿí éàõøû «ñèìôîíèéàëàðûíäà» «áèðèíúè ñêðèïêà» ðîëóíó îéíàéûð. Þç èäåéàëàðûíà äàùà óéüóí èôàäÿ âàñèòÿëÿðèíèí àõòàðûøûíäà ýþçëÿíèëìÿç, èíúÿ, çÿðèô âÿ ñîíñóç ìöõòÿëèôëèéÿ ìàëèê ðÿíý àùÿíýè òàïàðàã, î, ÿñë «ðÿíý äöøêöíö» îëäóüóíó áèðóçÿ âåðèð… Áîéà ñàíêè îíóí ôûð÷àñûíäàí áèð áàøà ìöÿììàëû àõûíëàðëà êÿòàíà ùîïóð. Ìÿí íÿùàéÿò ýþðäöì Ñàðû ðÿíýè, êîð îëäóì Âÿ åøèòäèì ôëåéòà ñÿñèíè È÷ìÿê îëìàç áóíëàðû Ãàðàíëûã äÿðÿëÿðëÿ Äþíäöì åâÿ Ýþç éàøû òþêìÿéÿ (ðÿññàìûí øåðëÿðèíäÿí) «Éàðàäûúûëûã òèëëÿðè», «Ðÿíýêàðëûã ìÿêàíû», «Èôàäÿåäèëìÿç éîë», «Íÿôÿñèí áàøãà ùàëà êå÷ìÿñè»… Ýöíäÿëèêäÿêè ãåéäëÿð êèìè Ìèð Íàäèðèí òàáëîëàðû ýþçöìöç þíöíäÿí êå÷èð ùàë, õàòèðÿ, òÿÿññöðàò, äóéüó… Áöòöí ìÿñóëèééÿòè èëÿ äåéÿ áèëÿðèê êè, ùàçûðäà ðÿññàì èíòèçàì âÿ èðàäÿñèíèí åëÿ âÿçèééÿòèíäÿäèð êè, îíóí èøëÿòäèéè ùÿð òàáëî òàì äöøöíöëìöø, ñîí äÿðÿúÿ áèòêèí áèð éàðàäûúûëûã íöìóíÿñè êèìè îðòàéà ÷ûõûð. Ðÿíý, ôàêòóðà, õÿòò, êîìïîçèñèéà, þë÷öëÿð-ùàìûñû åëÿ íèñáÿòäÿäèð êè, òàáëîëàð éåýàíÿ ìöìêöí àùÿíý, èíêàðåäèëìÿç ñàáèòëèê òÿñèðè áàüûøëàéûð. Ëàêèí ñàáèòëèê ùÿðÿêÿòñèçëèê, äóðüóíëóã ùèññè éàðàòìûð. Áó ùàë éîëóí ñîíó äåéèë, ÿêñèíÿ èíêèøàôà àïàðàí òàðàçëàøìûø
ìöòÿùÿððèêëèê, òàìûí àùÿíýè, áöòöí ùèññÿëÿðèí öçâö áèðëèéèäèð. Ìèð Íàäèðèí éàðàäûúûëûüûíäà ìöúÿððÿä êîìïîçèñèéàëàðûí öñòöíëöê òÿøêèë åòìÿñèíÿ áàõìàéàðàã ðåàëèñò, òîðïàüûí øÿùäè-øÿêÿðè èëÿ äîëìóø òàáëîëàðû äà àç äåéèë. Áöòöí ôàíèëèêëÿðèí ôþâãöíäÿ äóðìàñûíà áàõìàéàðàã ðÿññàì ìàääè äöíéàíûí ÿøéàëàðûíà äà ñåâýè-ìÿùÿááÿòëÿ éàíàøûð. Ðÿññàìûí øöóðóíäà áó íÿñíÿëÿð þç êîíêðåò, òÿòáèãè ÿùÿìèééÿòèíè èòèðÿðÿê èëêèí åíåðæè èëÿ äîëóð. Áó åíåðæè îíëàðû ýàù ñûõëàøäûðûá òÿáÿãÿéÿ äþíäÿðèð, ýàù äà ôîðìàëàðûíû äÿéèøèá îíëàðûí êöòëÿëÿðèíÿ äÿôÿëÿðëÿ àðòûã ñàìáàëëûëûã âåðèð. Ðåàë ùÿúìëÿðè ðÿìçëÿðÿ, èøàðÿëÿðÿ ÷åâðèëèð, ìöúÿððÿä ðÿíýëÿðè ôîðìà êÿñá åäèð. Ñàêèòëèêäÿ ñÿñ äîüóëóð Ñÿùÿð ñÿäàëàðû Ðÿíýäÿí áîéà äîüóëóð Ìÿêàíûí ôîðìàñûíà éîüðóëóð (ðÿññàìûí øåðëÿðèíäÿí) Ðÿññàìûí íÿ âàõòñà ýþðäöêëÿðè, äóéäóãëàðû òÿêðàð-òÿêðàð õàòèðÿñèíäÿ úàíëàíàðàã ðÿíýêàðëûã òþùôÿñèíÿ ÷åâðèëèð. Î, ñþçöí ÿñë ìÿíàñûíäà ðÿíýêàðäûð. Áåëÿ êè, ïîåòèê ãàâðàíûøû åéíè çàìàíäà øÿõñè äöíéà äóéóìóäóð. Òÿáèÿò ýóøÿñè, ðÿññàì ö÷öí õöñóñè ìÿíà äàøûéàí êîíêðåò øåéëÿð (ýèòàðà, áàëûããóëàüû, ñûíûã ýöçýö), èíñàí ñèôÿòëÿðè, îíóí äàõèëèíäÿ ýåäÿí ìÿíÿâè òÿëàòöìëÿð Ì.Í.Çåéíàëîâóí ÿñÿðëÿðèíèí éàðàíìàñûíäà åéíè äÿðÿúÿäÿ èøòèðàê åäèð. Ìÿùç òÿÿññöðàòëàðûíûí «õÿëèòÿñè» ðÿññàìûí éàðàòäûãëàðûíû þçöíÿ ìÿõñóñ èíòîíàñèéà èëÿ ñÿñëÿíäèðèð. ßñëèíäÿ åëÿ áó òÿÿññöðàòëàðûí ïîëèôîíèéàñû äà ðåàë ìþâúóäëóüóí ôÿëñÿôè öìóìèëÿøìÿëÿðÿ êå÷èäèíè ìöÿééÿíëÿøäèðÿí àññîñàñèéàëàðûí, øÿðòèëèéèí ùöäóäóëàðûíû òÿéèí åäèð. Ìèð Íàäèð Çåéíàëîâóí ÿñÿðëÿðè öçÿðèíäÿ äöøöíÿðêÿí, îíóí áÿäèè òÿôÿêêöðöíöí äÿðèíëèéèíÿ èøëÿéÿí ýåíèø ìÿäÿíè ãàòëàðëà öçëÿøèðñÿí. Ðÿññàìûí ùèññèééàòëà äîëó, ïëàñòèê, àç ãàëà ìàääèëÿøÿí ðÿíý ïîëèôîíèéàñû Àáøåðîí ìÿêòÿáèíèí áàðèç íöìóíÿñèíè áèðóçÿ âåðèð. Ãÿäèì Ìèñèð âÿ Ùèíäèñòàí ìÿäÿíèééÿòèíèí èçëÿðè äÿ Ì.Í.Çåéíàëîâóí éàðàäûúûëûüûíäà ùèññ îëóíóð. Áèð ÷îõ þëêÿëÿðè ýÿçìèø Ìèð Íàäèðèí øöóðóíäà ùÿìèí þëêÿëÿðèí ìÿäÿíèééÿòëÿðèíèí ÿñÿðè äÿ þç éåðèíè òóòìóøäóð. Êàì÷àòêà, Ñàõàëèí, Øðè-Ëàíêà, Èðàí, Èðàê, Èòàëèéà, Ìàëòà âÿ ñ. Áåëÿ úîüðàôè êàëîðèòëÿ ùÿð ðÿññàì «þéöíÿ» áèëìÿç. Ëàêèí Ìèð Íàäèð ùàíñû åêçîòèê þëêÿäÿ îëóð îëñóí, ãÿëáè ùÿìèøÿ Éåð öçöíäÿêè áèð íþãòÿéÿ-äîüìà Áóçîâíàéà áàüëû îëìóøäóð. Îðäà ðÿññàìûí àòà åâè âàð. Éàðàäûúûëûã àõòàðûøëàðûíûí, òàïûíòûëàðûíûí, óüóðëàðûíûí, àüðûëàðûíûí ìÿñêÿíè åìàëàòõàíàñû äà îðäàäûð. Áó ìÿêàíäà ðÿññàì Àáøåðîí àá-ùàâàñûíû
áöòöí ùöúåéðÿëÿðè èëÿ úàíûíà éûüàðàã êàìèëëÿøìèøäèð. Áàáàì âÿñèééÿò åòìèøäèð Áó àõøàìû Áó ÷þëö âÿ áó êöëÿéè Áó ãàéàíû ãûðûá ãÿëïÿ-ãÿëïÿ Áó òîðïàüû áþéöòìöøäö ãûðûã-ãûðûã (ðÿññàìûí øåðëÿðèíäÿí) Ðÿññàìûí éîëó îíóí èøëÿðèéëÿ òÿéèí îëóíóð. Îí èëëèêëÿðëÿ áó èøëÿð îíóí ýÿíúëèéèíè, éåòêèíëèéèíè, ãîúàëûüûíû ìöÿééÿí åäèð. Èëëÿðèí ñàéû äåéèë, ìÿùç ÿñÿðëÿð ñÿíÿòêàðûí ÿñë éàøûíû áèðóçÿ âåðèð. Ìèð Íàäèð óñàíìàäàí éàðàäûð. Îíóí ùÿéàòûíûí ìÿãñÿäèìÿðàìû ùÿëÿ þç ýåäèøèíäÿäè. Éàðàòäûüû ÿñÿðëÿðèí ýöúëö åíåðæèñè, àðäûúûë èíòåíñèâëèéè áóíà äÿëàëÿò åäèð. Ñàéñûç-ùåñàáñûç òàáëîëàðûíà áàõàíäà Ì.Çåéíàëîâóí éàðàäûúûëûã éîëóíóí òàì äöøöíöëìöø, ìÿãñÿäÿóéüóí ôÿàëèééÿò îëóá, ùàçûðäà ùÿðÿêÿò äèíàìèêàñûíûí çèðâÿñèíäÿ äàéàíäûüûíûí øàùèäè îëóðñàí. Àíëàéûðñàí êè, áöòöí áó èëëÿð ÿðçèíäÿ ðÿññàì ìÿãñÿäÿóéüóí îëàðàã þç «éåðèíÿ» ýåòìèøäèð, ùàðäàêû îëìàëûäûð… Äèëàðÿ Âàùàáîâà Ñÿíÿòøöíàñëûã íàìèçÿäè
IN SEARCH OF THE TRUTH If you are following the way You pave with your own hands day after day You will reach the place where You are meant to be. From the apophthegms of the Ancient Egypt Mir Nadir Zeynalov belongs to pleiad of the Azerbaijani artists who since the late 1970-s have kept their place in the history of the Azerbaijani painting. Throughout all this period, about 30 years, the artist has been elaborating his creative program step by step. He is always recognizable: his emotional and expressive canvases are invariably distinguished by his individual manner of expression. Having once elaborated his creative credo, M. N. Zeynalov has been adhering to it for several decades. The artist is certainly developing, and as years pass by some features become less significant while others are becoming more distinct determining his creative face. The texture of the paintings is becoming complicated acquiring an unpredictable outline. The color intensifies becoming a decisive factor for the general character of the works and very often creates symbolical and emotional associations. The content becomes increasingly estranged from secular fuss, so the concrete subjects are transformed into speculative conceptions and poetic metaphors. It is a paradox, but the artist's canvases are becoming much more intimate, confessed and mysterious in spite of their large scale, clear colors, dense texture and emotional force. The artist has gained a foothold in various types of artistic expression not changing his inner essence: the wandering soul ironically gazes at the transitory body which tries these or those clothes on… Whether the indifferent philosopher is absorbed with the mystery of the Universe, or the banal dreamer ready to admire any petty thing from daily life, or resurrected pagan greeting the coming spring with an exultant hymn appears before the viewer's eyes… The rational and irrational, the sensual and contemplative equally co-exist in the artist's soul competing with and overcoming each other. As a result, the compositions similar to an emotional explosion or, on the contrary, methodically built byprecise laws of tectonics are born. The artist sometimes relaxes openly enjoying the beauty of the Real world. Then the paintings full of hedonism and delight, like “The Sacred Spring” or “The Apricot in
Blossom”, appear. The plastic and abstract ways of artistic expression reflect the two sides of M. N. Zeynalov's spiritual life as an Apsheron indigene who since his childhood has been inhaling the rough smell of the Caspian Sea, and a philosopher- meditator once touched the Dao mystery and remained there for ever. In its initial meaning the Dao is a way of nature and a man. It is a source of all things and a search for the Truth infinitely slipping off because the natural and the rational, the earthy and the mystical being in a permanent process of change are intertwining with each other mutually assuming the features of other things and notions. Thus, the paint moved by the inner force takes its borders on the canvas as one of the manifestations of that highest sense which nobody is destined to formulate… Painting for the artist is poetry in colors. Mir Nadir thinks with a paint and paint texture. He subordinates all the world of objects around him to painting, and the elements of collage and installations are increasingly becoming an inseparable constituent part of his canvases. As if being endowed with the “sixth” sense, he keenly catches all what happens in the atmosphere - the fourth dimension invisible for us. During the creation process the artist seems to transform into a high-powered antenna receiving the voices from the Galaxy. He reveals its structure and makes it visible for us. The correlations of colours and tints in Mir Nadir's abstract compositions are from the main means of artistic expression in his manner. It is a colour that plays “the first violin” in all the best “symphonies” by M. Zeynalov. Striving towards the adequate expression of his ideas, the artist finds the exquisite, unexpected, refined and infinitely various combinations of colours witnessing that he is a true “gourmet of colour”… The paint is pouring from the artist's brush by intricate line as if obeying his will… I have already seen The yellow colour and went blind And have heard a voice of flute It is impossible to drink all this I came back home Through dark valleys to cry (From the artist's poems) «The Facets of Creativity», «Pictorial Space», «Inexplicable Path», «Transformation of Breath»… Similar to diary notes the meditations, memoirs, impressions, feelings - the paintings by Mir
Nadir are passed to us one after another… One can certainly assert that at present the artist has gained such a level of self-control that every work he creates today is a completed, thoroughly thought-out and extremely shaped organism. Colour, texture, line, composition, format everything is correlated in such extent that it seems the only possible option because it creates a feeling of an absolute rest. This state has nothing to do with static or ossifying. This is not the end of the way. This is an extremely balanced correlation of parts, a harmony of a whole, a mobile equilibrium Fraught with development. While the abstract compositions undoubtedly prevail among M. N. Zeynalov's works, the realistic paintings totally filled with earthly energy constitute a large group. Being a meditator, Mir Nadir infinitely indulges in the world of objects. The other thing is that the objects in his consciousness lose their concrete functionality saturating with some vital energy which makes them flat or swollen, dematerialized or massive. The real objects transform into signs, and abstract colours take shape… A sound is born in silence A glimpse of dawn Paint gives birth to paint Space takes its shape. (from the artist's poems) Again and again everything what was once seen and experienced by the artist emerges in his imagination transforming into pictorial messages. Mir Nadir is a painter in the very real, full sense of this word. The act of poetic perception of the world is at the same time his personal attitude towards reality. A nook of nature, some objects having a special sense for the artist such as a guitar, sea shells, a broken mirror, the faces of the people with whom the artist communicated all these have an impact on his works in the same extent as they are influenced by the processes taking place in the spiritual, intimate sphere of his life. It is this “alloy” of impressions forming some personal “ferment” that dyes all what is created by the artist into special, definitely personal tints. It is this “ferment” that determines that measure of convention and association with which the depicted events are transmitted from the sphere of reality into a sphere of philosophical speculations. Contemplating over the paintings by Mir Nadir Zeynalov, one can certainly discover the widecultural layer inside his artistic consciousness.Sensitive, plastic, almost material colour manifests the devoted representative of the Apsheron school of painting. Traditional features and characteristics of the Indian and Egyptian cultures became integral elements of the artist's
compositions. He has traveled a lot, and each of the national cultures learned by the artist “at places” definitely occupied its “cell” in an extensive sequence of the “memory bites” of M. N. Zeynalov. Mir Nadir is lucky: he has visited Kamchatka, Sakhalin, India, Iran, Iraq, Egypt, Italy, Malta… Not every artist could be “proud” of such a colorful geography! But what ever exotic place in the world has M.Zeynalov been to, he has permanently, by his soul and thoughts, come back to that only one, a special point of the Earth which is his native Buzovny. The father's house is here. The studio, a witness of his creative searches, discoveries and failures is here. This is where the artist reached his maturity haling with all the fibers the Apsheron aura. … Our grandfather bequeathed us This evening This field and this wind He crumbled these rocks into particles He cultivated this earth grain by grain (from the artist's poems) An artist's path is marked by his works. From decade to decade they measure the miles of his youth, maturity, and old age… It is the works, not real years, that determines the true age of the master. Mir Nadir works a lot and his creative tasks which are life tasks at the same time are far from being exhausted. Powerful and intensive energy coming from his paintings is a confirmation of that. There is a large number of them. Looking at them, one realizes that all the creative biography of M. N. Zeynalov is an absolutely deliberate, purposeful action which at present time is at the peak of its dynamics. One realizes that all these years the artist has steadily been going towards the “place” of his own, the “place” where he is to be. Dilara Vagabova, Ph.D., art crtitic
 ÏÎÈÑÊÀÕ ÈÑÒÈÍÛ Åñëè òû èäåøü ïî ïóòè, êîòîðûé äåíü çà äíåì ïðîêëàäûâàåøü ñîáñòâåííûìè ðóêàìè, òî äîéäåøü äî òîãî ìåñòà, ãäå äîëæåí áûòü. Èç äðåâíååãèïåòñêèõ èçðå÷åíèé Ìèð Íàäèð Çåéíàëîâ ïðèíàäëåæèò ïëåÿäå àçåðáàéäæàíñêèõ õóäîæíèêîâ, êîòîðûå óæå îêîëî 30 ëåò, ñ êîíöà 1970-õ, ïðî÷íî çàíèìàþò ñâîå ìåñòî â èñòîðèè àçåðáàéäæàíñêîé æèâîïèñè. Íà ïðîòÿæåíèè âñåãî ýòîãî ïåðèîäà, ïîñëåäîâàòåëüíî, øàã çà øàãîì, õóäîæíèê âûðàáàòûâàë ñâîþ òâîð÷åñêóþ ïðîãðàììó. Îí âñåãäà óçíàâàåì: åãî ýìîöèîíàëüíûå, ýêñïðåññèâíûå ïîëîòíà íåèçìåííî âûäåëÿþòñÿ ñâîåé èíäèâèäóàëüíîé ìàíåðîé èñïîëíåíèÿ. Îäíàæäû âûðàáîòàâ ñâîå òâîð÷åñêîå êðåäî, Ì.Í. Çåéíàëîâ îñòàåòñÿ âåðíûì åìó íå îäèí äåñÿòîê ëåò. Êîíå÷íî, õóäîæíèê ðàçâèâàåòñÿ: ñ ãîäàìè îäíè ÷åðòû ñòàíîâÿòñÿ ìåíåå çíà÷èòåëüíûìè, äðóãèå áîëåå âûïóêëûìè è îïðåäåëÿþùèìè åãî òâîð÷åñêèé îáëèê. Ôàêòóðà êàðòèí óñëîæíÿåòñÿ, ïðèíèìàÿ ñàìûå íåîæèäàííûå î÷åðòàíèÿ, öâåò - èíòåíñèôèöèðóåòñÿ, ñòàíîâÿñü ðåøàþùèì ôàêòîðîì â îáùåì õàðàêòåðå ðàáîò è âñå ÷àùå ïîðîæäàÿ ñèìâîëè÷åñêèå, ýìîöèîíàëüíûå è óìîçðèòåëüíûå àññîöèàöèè, íàêîíåö, ñîäåðæàíèå âñå áîëüøå îòäàëÿåòñÿ îò «ìèðñêîé ñóåòû», òàê ÷òî êîíêðåòíûå ñþæåòû òðàíñôîðìèðóþòñÿ â êîíöåïöèè è ïîýòè÷åñêèå ìåòàôîðû. Êàê ýòî íè ïðîçâó÷èò ïàðàäîêñàëüíî, íî ïîëîòíà õóäîæíèêà, ïðè âñåé èõ ìàñøòàáíîñòè, çâó÷íîñòè öâåòà, ôàêòóðíîé âåñîìîñòè è ýìîöèîíàëüíîé ñèëå âûñêàçûâàíèÿ îäíîâðåìåííî ñòàíîâÿòñÿ âñå áîëåå èíòèìíûìè, èñïîâåäàëüíûìè, òàèíñòâåííûìè… Õóäîæíèê óòâåðäèë ñåáÿ â ðàçíûõ àìïëóà, íå ìåíÿÿ, ïðè ýòîì, ñâîåé âíóòðåííåé ñóòè: áëóæäàþùàÿ äóøà íàñìåøëèâî âçèðàåò íà áðåííîå òåëî, ïðèìåðÿþùåå òî òå, òî èíûå îäåæäû. Ïåðåä íàìè âñòàåò òî îòðåøåííûé ôèëîñîô, ïîãðóæåííûé â òàéíû ìèðîçäàíèÿ, òî áàíàëüíûé ìå÷òàòåëü, ãîòîâûé ëþáîâàòüñÿ ëþáîé «ìåëî÷üþ» èç îêðóæàþùåãî íàñ ìåùàíñêîãî áûòà, à òî è âîâñå âîñêðåñøèé ÿçû÷íèê, ëèêóþùèì ãèìíîì ïðèâåòñòâóþùèé ïðèõîä âåñíû… Ðàöèîíàëüíîå è èððàöèîíàëüíîå, ÷óâñòâåííîå è ñîçåðöàòåëüíîå â ðàâíîé ñòåïåíè ñîñóùåñòâóþò â äóøå õóäîæíèêà, ñîïåðíè÷àÿ ìåæäó ñîáîé è ïðåîäîëåâàÿ äðóã äðóãà.  ðåçóëüòàòå ðîæäàþòñÿ õîëñòû, ïîäîáíûå âçðûâó ýìîöèé, èëè, íàïðîòèâ õëàäíîêðîâíî âûñòðîåííûå ïî ÷åòêèì çàêîíàì òåêòîíèêè. Ïîðîþ õóäîæíèê ðàññëàáëÿåòñÿ, îòêðîâåííî íàñëàæäàÿñü êðàñîòîé ðåàëüíîãî ìèðà, è òîãäà âîçíèêàþò õîëñòû, ïîëíûå ãåäîíèçìà è âîñòîðãà, ïîäîáíûå «Âåñíå ñâÿùåííîé» èëè «Öâåòóùåìó àáðèêîñó». Ïëàñòèêà è àáñòðàêöèÿ îòðàæàþò äâå ñòîðîíû äóõîâíîé æèçíè Ì.Í. Çåéíàëîâà Êîðåííîãî àïøåðîíöà, ñ äåòñòâà âäûõàþùåãî òåðïêèé çàïàõÊàñïèÿ, è ôèëîñîôà-ìåäèòàòîðà, îäíàæäû êîñíóâøåãîñÿ òàéíû Äàî è îñòàâøåãîñÿ â íåé íàâñåãäà.
 ñâîåì ïåðâîíà÷àëüíîì çíà÷åíèè Äàî ýòî ïóòü ïðèðîäû è ÷åëîâåêà, ýòî èñòî÷íèê âñåõ âåùåé è ïîèñê áåñêîíå÷íî óñêîëüçàþùåé èñòèíû, èáî åñòåñòâåííîå è ðàöèîíàëüíîå, çåìíîå è ìèñòè÷åñêîå, íàõîäÿñü â íåïðåðûâíîì ïðîöåññå èçìåíåíèÿ, ïåðåïëåòàþòñÿ äðóã ñ äðóãîì, âçàèìîîáðàçíî ïðèíèìàÿ íà ñåáÿ ÷åðòû äðóãèõ âåùåé è ïîíÿòèé. Òàê êðàñêà, äâèæèìàÿ êàêîé-òî âíóòðåííåé ñèëîé, îáðåòàåò ñâîè ãðàíèöû íà õîëñòå, ñòàíîâÿñü îäíèì èç ïðîÿâëåíèé òîãî âûñøåãî ñìûñëà, ñôîðìóëèðîâàòü êîòîðûé íèêîìó íå äàíî. Äëÿ õóäîæíèêà æèâîïèñü ïîýçèÿ â öâåòå. Ìèð Íàäèð ìûñëèò êðàñêîé è êðàñî÷íîé ôàêòóðîé. Æèâîïèñíîé ôîðìå îí ãîòîâ ïîä÷èíèòü âåñü îêðóæàþùèé åãî ïðåäìåòíûé ìèð: ýëåìåíòû êîëëàæà è èíñòàëëÿöèé âñå áîëüøå ñòàíîâÿòñÿ íåîòúåìëåìîé ñîñòàâëÿþùåé åãî æèâîïèñíûõ õîëñòîâ. Êàê áóäòî íàäåëåííûé «øåñòûì» ÷óâñòâîì, îí ÷óòêî óëàâëèâàåò âñå, ÷òî ïðîèñõîäèò â àòìîñôåðå - íåâèäèìîì äëÿ íàñ ÷åòâåðòîì èçìåðåíèè.  ïðîöåññå ñîçäàíèÿ õîëñòà õóäîæíèê êàê áóäòî ïðåâðàùàåòñÿ â ìîùíóþ àíòåííó, ïðèíèìàþùóþ ãîëîñà èç îêðóæàþùèõ íàñ ìèðîâ. Îí âûÿâëÿåò èõ ñòðóêòóðó è äåëàåò ýòó ñòðóêòóðó âèäèìîé äëÿ íàñ. Ñîîòíîøåíèÿ öâåòîâ è îòòåíêîâ â àáñòðàêöèÿõ Ìèð Íàäèðà ÿâëÿþòñÿ îäíèì èç îñíîâíûõ ñðåäñòâ âûðàçèòåëüíîñòè â ìàíåðå õóäîæíèêà. Èìåííî êîëîðèò èãðàåò «ïåðâóþ ñêðèïêó» âî âñåõ ëó÷øèõ «ñèìôîíèÿõ» Ì.Çåéíàëîâà. Ñòðåìÿñü ê íàèáîëåå àäåêâàòíîìó âûðàæåíèþ ñâîèõ èäåé, õóäîæíèê íàõîäèò èçûñêàííûå, íåîæèäàííûå, óòîí÷åííûå è áåñêîíå÷íî ðàçíîîáðàçíûå ñî÷åòàíèÿ òîíîâ, âûäàþùèå â íåì èñòèííîãî «ãóðìàíà öâåòà». Êðàñêà ëüåòñÿ ñ êèñòè õóäîæíèêà çàìûñëîâàòûì ðîñ÷åðêîì, êàê áû ïîâèíóÿñü åãî âîëå. ß íàêîíåö-òî óâèäåë Æåëòûé öâåò è îñëåï È óñëûøàë Ãîëîñ Ôëåéòû Âûïèòü âñå ýòî íåâîçìîæíî È òåìíûìè äîëèíàìè ß âîçâðàòèëñÿ äîìîé ×òîáû ïëàêàòü (èç ñòèõîâ õóäîæíèêà) «Ãðàíè òâîð÷åñòâà», «Æèâîïèñíîå ïðîñòðàíñòâî», «Íåèçúÿñíèìûé ïóòü», «Òðàíñôîðìàöèÿ äûõàíèÿ». Ïîäîáíî äíåâíèêîâûì çàìåòêàì, êàðòèíû Ìèð Íàäèðà ïðîõîäÿò ïåðåä íàìè ìåäèòàöèè, âîñïîìèíàíèÿ, âïå÷àòëåíèÿ, îùóùåíèÿ. Ñî âñåé îïðåäåëåííîñòüþ ìû ìîæåì óòâåðæäàòü, ÷òî â íàñòîÿùåå âðåìÿ õóäîæíèê íàõîäèòñÿ íà òàêîì óðîâíå ñàìîäèñïèïëèíû è ñàìîêîíòðîëÿ, ÷òî êàæäàÿ ðàáîòà, ñîçäàâàåìàÿ èì ñåãîäíÿ, ïðåäñòàâëÿåò ñîáîé çàêîí÷åííûé, âñåñòîðîííå ïðîäóìàííûé è ïðåäåëüíî îòòî÷åííûé îðãàíèçì. Öâåò, ôàêòóðà, ëèíèÿ, êîìïîçèöèÿ, ôîðìàò âñå ïðèâåäåíî â òàêîå ñîîòíîøåíèå, êîòîðîå ïðåäñòàâëÿåòñÿ åäèíñòâåííî âîçìîæíûì, èáî ñîçäàåò îùóùåíèå àáñîëþòíîãî
ïîêîÿ. Ýòî ñîñòîÿíèå íå èìååò íè÷åãî îáùåãî ñî ñòàòèêîé èëè îêîñòåíåíèåì. Ýòî íå êîíåö ïóòè, íî ïðåäåëüíî óðàâíîâåøåííîå ñîîòíîøåíèå ÷àñòåé, ãàðìîíèÿ öåëîãî, ïîäâèæíîå ðàâíîâåñèå, ÷ðåâàòîå ðàçâèòèåì. Êàðòèíû ðåàëèñòè÷åñêèå, ïðåäåëüíî íàïîëíåííûå òîêàìè çåìëè, ïðè î÷åâèäíîì ïðåîáëàäàíèè àáñòðàêòíûõ êîìïîçèöèé â òâîð÷åñòâå õóäîæíèêà, ñîñòàâëÿþò çíà÷èòåëüíóþ ãðóïïó. Ïðè âñåé ñâîåé ìåäèòàòèâíîé îòðåøåííîñòè, Ìèð Íàäèð áåñêîíå÷íî âëþáëåí â ïðåäìåòíûé ìèð. Èíîå äåëî, â åãî ñîçíàíèè ïðåäìåòû óòðà÷èâàþò ñâîþ îäíîçíà÷íóþ, êîíêðåòíóþ ôóíêöèîíàëüíóþ ïðèðîäó, íàñûùàÿñü âèòàëüíîé ýíåðãèåé, êîòîðàÿ òî óïëîùàåò, òî ðàçäóâàåò èõ, äåìàòåðèàëèçóåò èëè íàïîëíÿåò ìàññîé, âî ìíîãî êðàò ïðåâûøàþùåé èõ äåéñòâèòåëüíûé âåñ. Ðåàëüíûå îáúåìû òðàíñôîðìèðóþòñÿ â çíàêè, àáñòðàêòíûé öâåò ñòàíîâèòñÿ ôîðìîé.  òèøè ðîæäàåòñÿ çâóê Îòçâóê çàðè Êðàñêà ðîæäàåò êðàñêó Ïðèíèìàåò ôîðìó ïðîñòðàíñòâî. (èç ñòèõîâ õóäîæíèêà) Âíîâü è âíîâü âñïëûâàåò â âîîáðàæåíèè õóäîæíèêà âñå, ÷òî êîãäà-ëèáî áûëî èì óâèäåíî è ïåðåæèòî, âñÿêèé ðàç ïðåîáðàæàÿñü â æèâîïèñíûå ïîñëàíèÿ. Ýòî æèâîïèñåö â ñàìîì ðåàëüíîì, ïîëíîêðîâíîì ñìûñëå ýòîãî ñëîâà, äëÿ êîòîðîãî àêò ïîýòè÷åñêîãî îñâîåíèÿ ìèðà îäíîâðåìåííî ÿâëÿåòñÿ è ëè÷íûì ïåðåæèâàíèåì ðåàëüíîñòè. Óãîëîê ïðèðîäû, îïðåäåëåííûå ïðåäìåòû, íåñóùèå â ñåáå ñóùåñòâåííûé äëÿ õóäîæíèêà, îñîáûé äëÿ íåãî ñìûñë ( ãèòàðà, ìîðñêèå ðàêîâèíû, ðàçáèòîå çåðêàëî), ëèöà ëþäåé, ñ êîòîðûìè åìó ïðèõîäèòñÿ îáùàòüñÿ âñå ýòî òàê æå âëèÿåò íà ñîçäàâàåìûå ïðîèçâåäåíèÿ, êàê è ïðîöåññû, ïðîõîäÿùèå â äóõîâíîé, ãëóáîêî èíòèìíîé ñôåðå æèçíè Ì.Çåéíàëîâà. Èìåííî ñïëàâ âïå÷àòëåíèé, îáðàçóþùèé íåêèé ëè÷íîñòíûé «ôåðìåíò», è îêðàøèâàåò ñîáîé âñå, âîñïðîèçâîäèìîå õóäîæíèêîì, â ñïåöèôè÷åñêèå, ëèøü åìó ïðèñóùèå òîíà. Ñîáñòâåííî ýòîò ôåðìåíò è îïðåäåëÿåò òó ìåðó óñëîâíîñòè, àññîöèàòèâíîñòè, ñ êîòîðîé çàïå÷àòëåííîå ÿâëåíèå ïåðåíîñèòñÿ èç ñôåðû ðåàëüíîé äåéñòâèòåëüíîñòè â îáëàñòü ôèëîñîôñêèõ îáîáùåíèé. Ðàçìûøëÿÿ íàä êàðòèíàìè Ìèð Íàäèðà Çåéíàëîâà, íåèçìåííî ðàñêðûâàåøü øèðîêèé êóëüòóðîëîãè÷åñêèé ïëàñò, íàõîäÿùèéñÿ ãäå-òî â íåäðàõ åãî õóäîæåñòâåííîãî ñîçíàíèÿ. ×óâñòâåííûé, ïëàñòè÷íûé, ïî÷òè ìàòåðèàëüíûé öâåò âûäàåò â íåì ïîñëåäîâàòåëüíîãî ïðåäñòàâèòåëÿ àïøåðîíñêîé øêîëû æèâîïèñè. Òðàäèöèîííûå ÷åðòû è ïðèçíàêè èíäèéñêîé è åãèïåòñêîé êóëüòóð ñòàëè íåîòúåìëåìûìè ýëåìåíòàìè êîìïîçèöèé õóäîæíèêà.
Îí ìíîãî åçäèë, è êàæäàÿ èç óâèäåííûõ èì «íà ìåñòàõ» íàöèîíàëüíûõ êóëüòóð îïðåäåëåííî çàíÿëà ñâîþ «ÿ÷åéêó» â ïðîñòðàííîì ðÿäó «áèòîâ ïàìÿòè» Ì.Í. Çåéíàëîâà. Ìèð Íàäèðó ïîâåçëî: Êàì÷àòêà, Ñàõàëèí, Èíäèÿ, Øðè Ëàíêà, Èðàí, Èðàê, Åãèïåò, Èòàëèÿ, Ìàëüòà. Íå âñÿêèé õóäîæíèê ìîæåò «ïîõâàñòàòüñÿ» ñòîëü êîëîðèòíîé ãåîãðàôèåé! Íî â êàêîì áû ýêçîòè÷åñêîì ìåñòå íè íàõîäèëñÿ Ì.Çåéíàëîâ, äóøîé è ìûñëÿìè îí íåèçìåííî âîçâðàùàëñÿ â òó åäèíñòâåííóþ, îñîáóþ «òî÷êó» íà Çåìëå ðîäíûå Áóçîâíû. Çäåñü îòöîâñêèé äîì. Çäåñü ìàñòåðñêàÿ, ñâèäåòåëü òâîð÷åñêèõ ïîèñêîâ, íàõîäîê, îòêðûòèé, íåóäà÷. Çäåñü õóäîæíèê îáðåòàë ñâîþ çðåëîñòü, âñåìè ôèáðàìè âäûõàÿ àóðó Àïøåðîíà. Äåä çàâåùàë íàì ýòîò âå÷åð Ýòî ïîëå è ýòîò âåòåð Ýòè ñêàëû êðîøèë ïî ÷àñòèöàì Ýòó çåìëþ ðàñòèë ïî êðóïèöàì (èç ñòèõîâ õóäîæíèêà) Ïóòü õóäîæíèêà îòìå÷åí åãî ðàáîòàìè. Îò äåñÿòèëåòèÿ ê äåñÿòèëåòèþ îòìåðÿþò îíè âåõè åãî ìîëîäîñòè, çðåëîñòè, ñòàðîñòè… Îíè, à íå ðåàëüíûå ãîäû, îïðåäåëÿþò ïîäëèííîå âîçðàñòíîå ñîñòîÿíèå ìàñòåðà. Ìèð Íàäèð ðàáîòàåò ìíîãî, åãî òâîð÷åñêèå, à çíà÷èò - æèçíåííûå, çàäà÷è åùå äàëåêî íå èñ÷åðïàíû. Ìîùíàÿ, èíòåíñèâíàÿ ýíåðãåòèêà, èçëó÷àåìàÿ åãî êàðòèíàìè òîìó ñâèäåòåëüñòâî. Èõ îãðîìíîå ìíîæåñòâî, è ãëÿäÿ íà íèõ, ïîíèìàåøü: âñÿ òâîð÷åñêàÿ áèîãðàôèÿ Ì.Çåéíàëîâà ñîâåðøåííî îñîçíàííàÿ, öåëåóñòðåìëåííàÿ àêöèÿ, íàõîäÿùàÿñÿ â íàñòîÿùåå âðåìÿ íà ïèêå ñâîåé äèíàìèêè. Ïîíèìàåøü âñå ýòè ãîäû õóäîæíèê öåëåíàïðàâëåííî øåë ê ñâîåìó «ìåñòó», âîçìîæíî òîìó ñàìîìó, ãäå îí è äîëæåí áûòü. Äèëÿðà Âàãàáîâà, êàíäèäàò èñêóññòâîâåäåíèÿ
Qýrmýzý yuxu / Red dream / Êðàñíûé ñîí / 2004 / 130õ150
Yaradýcýlýðýn hüdudu / The Facets of Creativity / Ãðàíè òâîð÷åñòâà / 2004 / 141õ100
New reality / Íîâàÿ ðåàëüíîñòü, 1990, õîëñò, ìàñëî, 180õ140 ñì
Böyuk gün?þ / The Large Sun / Áîëüøîå ñîëíöå / 2007 / 250õ200
Göyaltý dünya / The Mundane World / Ïîäíåáåñíûé ìèð / 2007 / 200õ1410
Biliy? aparan qapý / The Door into the Solitude / Äâåðü âåäóùàÿ â ó÷åíèå / 2007 / 190õ140
Boyuk gun?þ / The Large Sun / Âûìûøëåííûé ïåéçàæ / 2007 / 130õ150
Musiqili payýz / The Musical Fall / Ìóçûêàëüíàÿ îñåíü / 2006 / 210õ140
Mistik z?riflik / Mystical feminity / Ìèñòè÷åñêàÿ æåíñòâåííîñòü / 2007 / 130õ100
Monoxrom ?s?r / A Monochrome Painting / Ìîíîõðîìíàÿ êàðòèíà / 2006 / 100õ90
? hat?l?nmiþ / Universality / Âñåîáúÿòíîñòü / 2006 / 95õ95
R?ngar?ng m?kan / Pictorial Space / Æèâîïèñíîå ïðîñòðàíñòâî / 2007 / 250õ200
Yaþýl meditasiya / A Green Meditation / Çåëåíàÿ ìåäèòàöèÿ / 2005 / 140õ120
B?yaz noktürn / White Nocturne / Áåëûé íîêòþðí / 1994 / 100õ100
Sad? q?rar / A Simple Decision / Ïðîñòîå ðåøåíèå / 2004 / 100õ100
Xalçalý kompozisiya / The Carpet Composition / Êîâðîâàÿ êîìïîçèöèÿ / 2003 / 130õ130
Yüks?k obyekt / A High Object / Âûñîêèé îáúåêò / 2004 / 90õ130
Ür?yin yolu / The Way of Heart / Ïóòü ñåðäöà / 2007 / 210õ140
Evin divarý / Wall of the house / Còåíà äîìà / 1985 / 90õ140
Primary energy / Èçíà÷àëüíàÿ ýíåðãèÿ / 2002 / 150õ150
Payýz marafonu / The Autumn Marafon / Îñåííèé ìaðaôîí / 2004 / 90õ101
Canlý s?ma / Living sky / Æèâîå íåáî / 1994 / 120õ90
Goruntu / Vision / Âèäåíèå / 2004 / 95õ95
Goyl?r yolu / The Heaven Way / Íåáåñíûé ïóòü / 2007 / 190õ140
Varlýðýn ritmi / The Rhythm of Existence / Ðèòì áûòèÿ / 2004 / 140õ210
Yaðýþlý gün / A Rainy Day/ Äîæäëèâûé äåíü / 2004 / 130õ130
Abþeron / Absheron / Àáøåðîí / 2007 / 120õ140
N?f?sin yransformasiyasý / The transformation of breath / Òðàíñôîðìàöèÿ äûõàíèÿ / 2006 /100õ125
, 2002, õîëñò, ìàñëî, 150õ150 ñì
Novella / Novella / Íîâåëëà / 2004 / 90õ110
Âå÷íûé çîâ / 2000 / 150õ150
N?h?ng birlik / The Great Unity / Âåëèêîå åäèíñòâî / 2007 / 201õ140 ñì
Suprematik m?zh?k? / Supremathic play / Ñóïðeìàòè÷åñêàÿ èãðà / 2002 / 150õ150
Dead valley / Äîëèíà ìåðòâûõ, 1991, õîëñò, ìàñëî, 140õ180 ñì
S?ssiz poeziya / The Silent Poetry / Ìîë÷àëèâàÿ ïîåçèÿ / 2004 / 100õ140
Sad? n?tic? / A Simple Decision / Ïðîñòîå ðåøåíèå / 2004 / 110õ110
G?zintid?n qayýdark?n / Return from walking / Âîçâðàøàÿñü ñ ïðîãóëêè / 2001 / 100õ120
Mu?mmalý iqtidar / Mistic potention / Ìèñòè÷åñêàÿ ïîòåíöèÿ / 2006 / 95õ95
Müq?dd?s bahar / The sacred spring / Âåñíà ñâÿùåííàÿ / 2003 / 80õ100
Obyekt? cur?t Ñòðåìëåíèå ê îáúåêòó, 2002, õîëñò, ìàñëî, 150õ150 ñì
Qýzýl il? çiç?kl?n?n torpaq /
/ Öâåòóùàÿ çîëîòîì çåìëÿ / 2003 / 130õ140
Stoun / Êàìåííûé êðèê / 1993 / 150õ150
Geniþ yol / Big perspektive / Øèðîêàÿ ñòåçÿ / 2004 / 130õ140
Fabtantik m?nz?r? / Fantastic landscape / Ôàíòàñòè÷åñêèé ïåéçàæ / 2006 / 130õ150
Ýz v? yaddaþ / Trace and Memory / Ñëåä è ïàìÿòü / 2007 / 120õ150
Arzularýmýn h?ddi / A Facet of my Dream / Ãðàíü ìîåé ìå÷òû / 2004 / 128õ120
Þimal kül?yi - X?zri / The north wind - Khazri / Ñåâåðíûé âåòåð - Õàçðè / 2005 / 112õ128
Paritradan güll?r / Lilies from palitra / Ëèëèè ñ ïàëèòðû / 2007 / 120õ150
ÌÈÐ ÍÀÄÈÐ ÇÅÉÍÀËÎÂ 1942 1963 1973 1976 1989 1992
Àçÿðáàéúàíäà, Áàêû øÿùÿðèíäÿ äîüóëóá. Àçÿðáàéúàí Äþâëÿò ß.ßçèìçàäÿ àäûíà Ðÿññàìëûã Ìÿêòÿáèíèí ðÿíýêàðëûã ôàêóëòÿñèíè áèòèðèá. Áàêû, Àçÿðáàéúàí. Ìîñêâà Äþâëÿò Ïîëèãðàôèéà Èíñòèòóòóíóí áÿäèè ãðàôèêà ôàêóëòÿñèíè áèòèðèá. Ìîñêâà, Ðóñèéà. Ýÿíú Ðÿññàìëàðûí Öìóìèòòèôàã Ñÿðýèñèíäÿ ÑÑÐÈ Ðÿññàìëûã Àêàäåìèéàñûíûí äèïëîìóíó àëûá. Ìîñêâà, Ðóñèéà. «Áàùàðäà áàü» ÿñÿðèíÿ ýþðÿ Õÿçÿðéàíû Ðåñïóáëèêàëàðûí Áèåíàëûíäà Áèðèíúè Ìåäàëà ëàéèã ýþðöëöá. Áàêû, Àçÿðáàéúàí. Àçÿðáàéúàí Ðåñïóáëèêàñûíûí ßìÿêäàð Ðÿññàìû àäûíû àëûá.
ßñÿðëÿðèíèí ñàõëàíäûüû éåðëÿð Àçÿðáàéúàí Ðÿññàìëàð Èòòèôàãû, Áàêû, Àçÿðáàéúàí; Àçÿðáàéúàí Ìÿäÿíèééÿò Íàçèðëèéè, Áàêû, Àçÿðáàéúàí; Ðóñèéà Ðÿññàìëàð Èòòèôàãû, Ìîñêâà, Ðóñèéa; Ðóñèéà Ìÿäÿíèééÿò Íàçèðëèéè, Ìîñêâà, Ðóñèéà; Ðóñèéà Áÿäèè Ôîíäó, Ìîñêâà, Ðóñèéà, Í.Ðàäèøåâ àäûíà Èíúÿñÿíÿò Ìóçåéè, Ñàðàòîâ, Ðóñèéà; Àçÿðáàéúàí âÿ xàðèúè þëêÿëÿðèí øÿõñè êîëëåêñèéàëàðûíäà. Áèð ÷îõ áåéíÿëõàëã ñÿðýèëÿðèí èøòèðàêûñûäûð. Îíëàðäàí: 1977 1988 1989 1993
Àçÿðáàéúàí ßäÿáèééàòû âÿ Èíúÿñÿíÿòè Îíýöíëöéö. Êèéåâ, Óêðàéíà. Öìóìèòòèôàã Ðÿíýêàðëûã Ñÿðýèñè. Ìîñêâà, Ðóñèéà. Àçÿðáàéúàí Ðÿññàìëàðûíûí Ñÿðýèñè. Ùéóñòîí, ÀÁØ. Àçÿðáàéúàí Ðÿññàìëàðûíûí Ñÿðýèñè. ËîñÀíúåëåñ, ÀÁØ.
Ôÿðäè ñÿðýèëÿð: 1981 1986 1987 1990 1990 1995
Â.Ñÿìÿäîâà àäûíà Ñÿðýè Ñàëîíóíäà, Àçÿðáàéúàí Ðÿññàìëàð Èòòèôàãû. Áàêû, Àçÿðáàéúàí. «Ùèíäèñòàíäà», Äîñòëóã Úÿìèééÿòè. Áàêû, Àçÿðáàéúàí. «Ùèíäèñòàíäà», Äîñòëóã Úÿìèééÿòè. Áàêû, Àçÿðáàéúàí. Í.Ðàäèøåâ àäûíà Èíúÿñÿíÿò Ìóçåéè. Ñàðàòîâ, Ðóñèéà. Ìÿðêÿçè Ðÿññàìëàð Åâè. Ìîñêâà, Ðóñèéà. Ð. Ìóñòàôàéåâ àäûíà Àçÿðáàéúàí Äþâëÿò Èíúÿñÿíÿò Ìóçåéè. Áàêû,Àçÿðáàéúàí.
MIR NADIR ZEYNALOV
ÌÈÐ ÍÀÄÈÐ ÇÅÉÍÀËÎÂ
1942 1963
1942 1963
1973 1976 1989 1992
was born in Baku, Azerbaijan graduated from the Azerbaijan State Art College n/a A.Azimzade, painting faculty graduated from the Moscow State Polygraph Institute, graphic-art faculty the Diploma of the Academy of Fine Arts of the USSR, the All Union exhibition of the young artists, Moscow, Russia The bronze medal at the Biennale of the Caspian Republics for the “Spring Garden” work, Baku, Azerbaijan Awarded the title of Honored Artist of the Azerbaijan Republic
1973 1976 1989 1992
The works are kept: Union of artists of Azerbaijan, Baku, Azerbaijan; The Azerbaijan State Museum of Fine Arts n/a R. Mustafayev, Baku, Azerbaijan; Azerbaijan Ministry of Culture, Baku, Azerbaijan; Union of Artists of Russia, Moscow, Russia; Art Fund of Russia, Moscow, Russia; The Museum of Fine Arts n/a N.Radishev, Saratov, Russia Private collections in Azerbaijan and abroad: The participant of the numerous international exhibitions. Among them are: 1977 Decade of the Azerbaijan Literature and Art, Kiev, Ukraine 1988 All Union exhibition of Painting, Moscow, Russia 1989 The Exhibition of the Artists of Azerbaijan, Houston, USA 1993 The Exhibition of the Artists of Azerbaijan , Los Angeles, USA
2006
Ðàáîòû õðàíÿòñÿ: Ñîþç Õóäîæíèêîâ Àçåðáàéäæàíà, Áàêó, Àçåðáàéäæàí; Àçåðáàéäæàíñêèé Ãîñóäàðñòâåííûé Ìóçåé Èñêóññòâ èì. Ð. Ìóñòàôàåâà, Áàêó, Àçåðáàéäæàí; Ìèíèñòåðñòâî êóëüòóðû Àçåðáàéäæàíà, ã. Áàêó, Àçåðáàéäæàí; Ñîþç Õóäîæíèêîâ Ðîññèè, ã. Ìîñêâà, Ðîññèÿ; Ìèíèñòåðñòâî Êóëüòóðû Ðîññèè, ã. Ìîñêâà, Ðîññèÿ; Õóäîæåñòâåííûé Ôîíä Ðîññèè, ã. Ìîñêâà, Ðîññèÿ; Ìóçåé Èñêóññò èì.Í.Ðàäèùåâà, Ñàðàòîâ, Ðîññèÿ. À òàêæå - â ÷àñòíûõ êîëëåêöèÿõ â Àçåðáàéäæàíå è çàðóáåæíûõ ñòðàíàõ Ó÷àñòíèê ìíîãî÷èñëåííûõ ìåæäóíàðîäíûõ âûñòàâîê. Ñðåäè íèõ: 1977 1988
Personal Exhibitions: 1989 1981 1986 1987 1990 1990 1995 2002
The Exhibition Hall n/a V. Samedova, Union of Artists of Azerbaijan, Baku, Azerbaijan “Over India”, “Friendship Society, Baku, Azerbaijan “Over India”, Friendship Society, Moscow, Russia The Museum of Fine Arts n/ar N. Radishev, Saratov, Russia The Central House of Artists, Moscow, Russia The Azerbaijan State Museum of Fine Arts n/a R. Mustafaev the personal exhibition honored to 60th Anniversary of artist. S. Bakhlulzade Art Gallery
ðîäèëñÿ â Áàêó, Àçåðáàéäæàí Àçåðáàéäæàíñêîå Ãîñóäàðñòâåííîå Õóäîæåñòâåííîå Ó÷èëèùå èì. À. Àçèìçàäå, ôàêóëüòåò æèâîïèñè, Áàêó, Àçåðáàéäæàí îêîí÷èë Ìîñêîâñêèé Ãîñóäàðñòâåííûé Ïîëèãðàôè÷åñêèé Èíñòèòóò, ôàêóëüòåò õóäîæåñòâåííîé ãðàôèêè, Ìîñêâà, Ðîññèÿ Äèïëîì Àêàäåìèè Õóäîæåñòâ ÑÑÑÐ íà Âñåñîþçíîé Âûñòàâêå Ìîëîäûõ Õóäîæíèêîâ, Ìîñêâà, Ðîññèÿ Áðîíçîâàÿ ìåäàëü íà Áèåííàëå Ïðèêàñïèéñêèõ Ðåñïóáëèê çà ðàáîòó "Âåñåííèé Ñàä", Áàêó, Àçåðáàéäæàí ïîëó÷èë çâàíèå Çàñëóæåííîãî õóäîæíèêà Àçåðáàéäæàíñêîé Ðåñïóáëèêè ïîëó÷èë çâàíèå íàðîäíîãî õóäîæíèêà Àçåðáàéäæàíà
1993 1993
Äåêàäà Àçåðáàéäæàíñêîé Ëèòåðàòóðû è Èñêóññòâà â ã. Êèåâ, Óêðàèíà Âñåñîþçíàÿ Âûñòàâêà Æèâîïèñè, ã. Ìîñêâà, Ðîññèÿ Âûñòàâêà àçåðáàéäæàíñêèõ õóäîæíèêîâ, Õüþñòîí, ÑØÀ Âûñòàâêà àçåðáàéäæàíñêèõ õóäîæíèêîâ, ËîñÀíäæåëåñ, ÑØÀ Ìåæäóíàðîäíàÿ âûñòàâêà. Áåðëèí, Ãåðìàíèÿ
Ïåðñîíàëüíûå âûñòàâêè: 1981 1986 1987 1990 1990 1995 2002
âûñòàâêà â Âûñòàâî÷íîì çàëå èì. Âàäæèè Ñàìåäîâîé, Ñîþç õóäîæíèêîâ Àçåðáàéäæàíà, Áàêó, Àçåðáàéäæàí “Ïî Èíäèè”, Îáùåñòâî Äðóæáû, Áàêó, Àçåðáàéäæàí “Ïî Èíäèè”, Îáùåñòâî Äðóæáû, Ìîñêâà, Ðîññèÿ Ìóçåé Èñêóññòâ èì.Í.Ðàäèùåâà, Ñàðàòîâ, Ðîññèÿ Öåíòðàëüíûé Äîì Õóäîæíèêîâ, Ìîñêâà, Ðîññèÿ Àçåðáàéäæàíñêèé Ãîñóäàðñòâåííûé Ìóçåé Èñêóññòâ èì.Ð.Ìóñòàôàåâà, Áàêó, Àçåðáàéäæàí Ïåðñîíàëüíàÿ âûñòàâêà ïîñâÿùåííàÿ 60ëåòèþ. Ãàëåðåÿ èì. Ñ. Áàõëóëçàäå
TELE
M