BAKU, Azerbaijan, January 12. The demolition of
the Azerbaijani poetess Natavan’s statue in Evian is a declaration
of battle on all world representatives of tradition, Leyla Begim, poet,
playwright, member of the Writers’ Union of Azerbaijan, public
determine, and founding father of the “Natavan society” within the Czech Republic,
wrote in her article within the
La Gazette du Caucase
on-line newspaper based mostly in Paris, Trend studies.
“The information that in France, a rustic whose declaration of human
rights is predicated on the rules of the Enlightenment, there may be
discuss of demolishing the monument to the Poetess Khurshudbanu
Natavan, vastly upset me…
In the homeland of remarkable poets, writers, and thinkers, in
the homeland of the best artists and sculptors, within the homeland
of Rodin, we wish to destroy a sculpture?!
The monument to the Azerbaijani poet Khurshudbanu Natavan, whose
authors are the nationwide sculptors of Azerbaijan Salhab Mamedov and
Ali Ibadullayev, has been situated for six years in a small public
backyard, named (earlier than being renamed by order of the city corridor)
“Azerbaijan Garden” of the French city of Evian-les-Bains, twinned
with the Azerbaijani city of Ismayilli in 2015.
This magnificent sculpture, a dwelling embodiment of the poetry of
white marble, represents not solely Azerbaijan, the place the Eastern and
European cultures of a multinational individuals have coexisted for
hundreds of years. Culture is mirrored right here each in its
shrines—synagogues, mosques, church buildings, temples of fireplace worshipers,
and different historic monuments—amongst which there are sculptures and
busts erected in honor of excellent European figures akin to
Wolfgang Amadeus Mozart, Nikola Tesla, Charles de Gaulle, and plenty of
This work devoted to the poetess, the Woman of the East, who
lived and labored within the Caucasus (Chusha, Baku, and Tiflis) within the
second half of the nineteenth century, is the artist’s try and convey
to descendants not solely a part of the religious wealth of its individuals,
a number of tens of hundreds of whom are French residents, but additionally
speaks of historical past, of the hyperlink between two peoples and two
civilizations, Eastern and European.
This sculpture is a common image: Khurshudbanu Natavan was
not solely the bearer of the life-giving phrase but additionally one of many
first feminine public figures within the Caucasus.
She ran a literary society and was fluent in a number of languages,
together with French.
As the spouse of Khasai Khan Utsmiev, who studied in France on the
Academy of Saint-Cyr, Natavan personally knew many representatives
of the French elite, together with Alexandre Dumas. The latter, in his
“Journey to the Caucasus,” describing his assembly with the Utsmiev
couple in Baku, recounted his admiration for the expertise, erudition,
and intelligence of the Azerbaijani poetess.
This quantities to the abolition of all academic rules.
This quantities to the demolition of all diplomatic relations
established between the 2 nations for many years.
It is the destruction of the bridge main from the previous to the
future, to a extra superior civilization.
French thinker Gilles Deleuze known as artists “docs of
civilization.” And I utterly agree with this formulation,
as a result of at the moment, whereas the world is ablaze with the hearth of wars,
who, if not the authors of this sculpture, baptized “the
civilization that heals” right here in France, speaks to us of the unity
of the world, of the common religious values of the East and the
West, evoking the prologue of the Gospel in keeping with Saint John:
“In the beginning was the Word”?
Listening with gratitude to the voice of the editor-in-chief of
the newspaper La Gazette du Caucase, Jean Michel Brun, crying in
the desert, who stood as much as defend the monument, I nonetheless wish to
consider that the phrases of the nice Denis Diderot on the
immortality of the sculpture, “current each for the blind and the
sighted,” will ring out in a victorious cry on this monstrous
battle of fine and evil, of tradition and obscurantism.