Elmi is-yanvar 02(15). pdf

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 beynԥlxalq elmi jurnal. Impakt faktorlu. 2021 &LOG6D\Õ                                                              ISSN: 2663-4619 

SCIENTIFIC WORK international scientific journal. With Impact Factor. 2021 / Volume: 15 Issue: 2        e-ISSN: 2708-986X 

 

18 

Taking into account the above-mentioned facts, we see that the portrait in the Uffizi Gallery partially 

UHIOHFWV6KDK,VPDLO¶VSK\VLFDODSSHDUDQFH,QWKHPLQLDWXUHSDLQWLQJVRI famous Safavid artists, Shah Ismail 

was depicted with the shaved face but a long moustache. For example, in the miniatures of XVII century 

artist Muin Musavvir, we see Shah wearing moustaches. Interestingly, Shah Ismail I described his face 

shaved often in his ghazaOZULWWHQXQGHUWKHSHQQDPHRI³.KDWDL´ -151); 

GΩl tΩUDúHW[ΩWWLQLúDKL-FDKDQoJQGΩ bir, 

Ta olasan afΩti-G|YUL-]DPDQoJQGΩ bir. 

Literal translation:  

/HW¶VVKDYHWKHNLQJRIWKHZRUOGRQFHHYHU\WKUHHGD\V 

To become the most handsome of the worldonce every three days. 

The aforementioned portrait of Suleiman the Magnificent which is dated to 1520 is considered to have 

been painted by one of the followers of the Bellini. However, the painting which is of great interest to us is 

WKH RQH E\ $OEUHFKW 'UHU 7KH SDLQWLQJ LV WKRXJKW WR KDYH EHHQ FRSLHG E\ WKH DERYH-stated portrait of 

Suleiman the Magnificent. +RZHYHUZHEHOLHYHWKDW'UHU¶VSRUWUDLWLVPRUHOLNHWKHSRUWUDLWRI6KDK,VPDLO

,:HVKRXOGQRWHWKDW$OEUHFKW'UHUKDGIRr some time lived and worked in Venice, Italy. He is known to 

KDYHFORVHO\LQWHUHVWHGLQWKHZRUNRI*HQWLOHDQG*LRYDQQL%HOOLQL'UHULVWKRXJKWWRKDYHFRSLHGVRPH

paintings of the Bellini. We can see the same image depicted in the full profile in AlbrHFKW 'UHU¶V DV LQ

&ULVWRIDQR¶VZRUN:LWKWKHIDFLDOIHDWXUHVWKHVLPLODUFKDUDFWHULVWLFVRIERWKLPDJHVDUHVWULNLQJ 

We have tried to analyse the similarities between the two portraits. First of all, it is important to note the 

resemblance between the profile lines of the two images. If we look more attentively, the similarities 

between some details can easily be noticed. The lines on the lip and moustache, the shape of the upper lip, 

the structure of the jaw and the form of moustache are quite identicaOLQERWKSRUWUDLWVSDLQWHGE\'UHUDQG

&ULVWRIDQR(YHQWKHWHFKQLTXHRISDLQWLQJWKHPRXVWDFKHLQ&ULVWRIDQR¶VZRUNLVDOPRVWLGHQWLFDOWRWKHIRUP

DQGKDUPRQ\RIWKHOLQHVLQ'UHU VSDLQWLQJ 

Taking into consideration the aforementioned aspects, we caQ SUHVXPH WKDW $OEUHFKW 'UHU V SDLQWLQJ

KDGDQLPSDFWRQWKHFUHDWLRQRIWKHZRUNE\&ULVWRIDQRGHOO $OWLVVLPR$OEUHFKW'UHUZDVXQGRXEWHGO\

one of the most famous and genius artists of his time and his every scribble was on the focus of attention.  

Conclusion. In conclusion, it can be assumed that in addition to the information provided by Paolo 

Giovio, any other painting had an impact on the creation of the painting by the Florentine artist as well. 

$Q\ZD\WKHLPDJHLQ$OEUHFKW'UHU VSDLQWLQJDSSHars to be strikingly similar to the image of Shah Ismail. 

As we have mentioned before, Paolo Giovio had collected information from the memoirs and travel notes of 

the travellers who visited Azerbaijan at that time.  

This work was supported by the Science Development Foundation under the President of the Republic of 

Azerbaijan ± Grant ʋ(ø)040(OP-Tԥhsil-1-2016-1 (26)-71/02/5