FORGED BY METAL

Among the material and cultural values of Azerbaijan, craft samples made from various metals occupy a distinctive position. Since antiquity, Azerbaijanis have accorded this craft a high degree of significance. Artefacts such as pottery, daggers, axes, belts, and gold jewellery date back to the 2nd millennium BCE. By the Middle Ages, local artisans were engaged in the production of an extensive range of metal artefacts, including weapons, household items, utensils, jewellery and other items. The principal technical methods employed in the production of metal products include minting, embossing, garasavad, shebeke, khatemkarlig and glazing. Of these techniques, embossing is the most ancient. As many artisans will attest, this craft demands not only keen eyesight but also exceptional skill. Nevertheless, despite its rich history, the number of practitioners is declining, and the craft is becoming increasingly irrelevant. 

Azizbala Dadashov has devoted over three decades of his life to the pursuit of his craft in Azerbaijan. His workshop is located in the Baku settlement of Balakhany. The atmosphere is imbued with the aroma of books, and at each juncture, one can discern numerous works that encapsulate the master's life story. In addition to his dedication to working with metal, Azizbala Dadashov has also engaged in the exploration of other artistic disciplines, including calligraphy, ceramics, and tapestry weaving.

"In addition to examples of artistic embossing, your workshop also displays graphics and paintings."

"My initial foray into the field of art commenced with an emphasis on the fundamental principles of embossing. My initial experience with metalworking commenced during my formative years, when I encountered our neighbour Anatoly, an ethnic Greek. He was a candidate of sciences, with a specialisation in painting and iron forging. At my father's behest, he consented to impart his knowledge and commenced tutoring me in this craft. By the age of 13, I had already developed the ability to create portraits of Nizami and Fuzuli on metal, and had also crafted a steel figurine of a gazelle for my bicycle."

"Which metals do you utilise in your practice?"

"Aluminium, copper, brass and silver. My practice encompasses the creation of basic miniatures and ornaments, as well as painting. Additionally, I engaged in ceramic work for a period of time."

"Some of the metalwork items located within your workshop have been painted. Has this method been employed in your professional experience?"

"That is correct. The application of paint to metal is a relatively recent development in my work. Copper is a malleable transitional metal with a distinctive golden-pink hue. The decision was taken to utilise topographic colours for the painting. In particular, I derive great pleasure from working with yellow and sky blue hues. The combination of these two pigments results in an extraordinary hue that I have successfully employed in the majority of my works."

"What difficulties have you encountered while acquiring the necessary skills to become proficient in this craft. After all, it is a combination of several distinct phases."

"The initial challenge I faced during my studies was between 1981 and 1984, when I was engaged in the pursuit of knowledge in the fields of metal forging and engraving at Vocational Technical School No. 84. My instructor was Salim Ibrahimov, who had pursued studies in this field in Georgia. Despite my best efforts, I found the process of drawing challenging, which resulted in the sketches that were later transferred to metal not meeting the desired standard. Consequently, I elected to pursue further studies at the Department of Carpet Arts of the Azerbaijan University of Culture and Arts. I was privileged to have Latif Karimov as my instructor. He disclosed the most significant aspects of this art form to me and became a genuine friend. I focused my studies on ornamentation. In addition to the aforementioned instructors, I would be remiss if I did not mention Arif Mardan and Oqtay Murtuzayev, who also played an instrumental role in my development as an artist."

"What secrets did Latif Karimov tell you?"

"First and foremost, he instilled in me an appreciation for my chosen field of expertise. It was only through developing an affinity for my chosen field that I was able to identify and explore previously uncharted avenues of inquiry. Additionally, he revealed the pinnacle of excellence in the art of ornamentation. I am indebted to him for enabling me to become a professional. Latif-muallim was notably benevolent and accommodating. He was born in Iran but had the opportunity to travel widely during his lifetime. He demonstrated complete mastery of the Arabic and Persian languages and exhibited a remarkable breadth of knowledge. It is my contention that this disposition contributed to his ability to establish rapport with others from the outset of any interaction. His actions and attitude toward his craft and people played a crucial role in my development during that period."

"Do you believe it is feasible to instil a passion for an art form that does not resonate with an individual's innermost being. It is often challenging to articulate the reasons behind our affinity for certain things. These sentiments often emerge intuitively."

"The essential point is that an initial spark of interest transformed into a more profound interest, which in turn became a driving force." In the absence of intrinsic motivation, even the most accomplished experts in the field are unable to impart knowledge effectively. From 1983 to 1987, I was uncertain about the optimal way to initiate my professional career and remained unemployed. Nevertheless, this did not dissuade me from pursuing my chosen profession or prompt me to consider alternative avenues. I persisted in my studies and continued to hone my craft."

"A substantial corpus of knowledge, skills, and experience is accumulated prior to attaining the status of a professional in one's field. At what point did you become aware that you had successfully established yourself professionally?"

"For me, this process was protracted, lasting almost 30 years. Those around me frequently encouraged me to abandon my chosen field in favour of a more lucrative alternative. However, I was driven by a clear objective: to see my work through to completion. I never betrayed my own artistic principles or the integrity of my work. In the contemporary era, it has become increasingly common for individuals to alter their occupational status with minimal effort, prioritising immediate financial gain over long-term professional fulfilment. There is a growing impatience with failure. Nevertheless, throughout history, there are numerous examples of renowned artists who lived in poverty but continued to pursue their beloved craft. Many were only recognised posthumously, yet they achieved their goal by etching their names into history and leaving us with a vast legacy. Time is a valuable resource; it should be respected and not wasted. An approach to time management that is both prudent and meaningful is essential."

"How important is it for your work to gain recognition?"

"It's not important to me. A person should focus on improving themselves, not trying to please others. Creativity is a way of self-expression for me. You create something for yourself, putting your thoughts, worldview and feelings into this or that work. If you are fixated on the idea of 'creating to impress', you will lose focus on your inner state and become distracted by the outside world. If you focus on trying to impress others, you will lose sight of your own inner state and become distracted by the external world."

"Which recent works inspire admiration in you. Name the creators whose works you believe are made with feeling."

"I haven't attended exhibitions or held any myself for quite some time now. In 2001, I held one exhibition in Balakhany. That was my first and last encounter with viewers. I don't see the point in it any more. I prefer following art and innovations online instead. I'm not easily surprised these days."

"Who are the heroes depicted in your works? How do you decide which image to work on?"

"When I work with artistic metal, I create a picture or a complete composition. My works also feature legendary figures from various eras, including Shakespeare, Nizami, Fuzuli, Nasimi, and Beethoven. I immerse myself in poetry. My workshop is filled with countless volumes of literature. I also study the lives and artworks of masters whose creations resonate with me. I must first love the person before I create their image. My favourite piece is the portrait of Mirza Alakbar Sabir. I'm currently working on the image of Hasan-bey Zardabi, the founder of the first newspaper published in Azerbaijani titled 'Ekinci'. Despite his significant contributions, his persona remained overshadowed for a long time."

"Some individuals perceive art as an integral aspect of interior design, whereas others regard it as a source of contemplation. What is your motivation behind the creation of your works?"

"That is an interesting question. Art should serve to elevate the spirit, nourish the consciousness, and educate the viewer. Artworks should not be regarded as mere interior decorations that are briefly observed and then ignored. The appropriate setting for works of art is a museum, where visitors have the intention of observing, absorbing, and reflecting upon the displayed pieces."

"Who are the key critics of your works? Whose opinion does matter to you the most?"

"My mother is the primary source of feedback on my works. Despite lacking formal education, she is now 87 years old and still offers highly accurate assessments of my works. The pieces that she appreciates often prove to be quite successful, whereas those that she deems to be of poor quality tend to be reevaluated over time and found to be accurate assessments."

"To what extent the art of punchwork is a popular pursuit in Azerbaijan? Is it possible to study it at educational institutions?"

"It wouldn't be accurate to say that this art form is widely popular today; in fact, there are probably only a handful of practitioners left. Punchwork was quite popular in the Soviet Union during the 1960s to the 1990s, as shown by the surviving examples of facades and interiors in factories and government buildings from that era. I believe you can find some of the best examples of punchwork in Georgia and Iran. Additionally, the history of this art form in Azerbaijan can be traced back to influences from Albanian culture.

"I have great hopes for my student, Yusif Dadashzade, who has shown a strong interest in embossing since he was young. He has spent a lot of time observing the processes in my workshop. I'm happy to pass on essential knowledge about metalworking skills to him, and I’m pleased with his progress. I hope our students will do their best to keep this ancient Azerbaijani craft alive.

"One well-known area of metalwork focuses on creating household items from copper or involves blacksmithing; however, my work is about crafting artistic metal compositions. Blacksmith artists use special tools like hammers and anvils to shape metals into various forms and patterns—a process that can be very noisy! Anyone who doesn’t have a passion for this craft will likely get tired of it quickly. Still, I've been forging for many years and plan to continue doing so forever—this is my true calling."