{"id":2531,"date":"2026-01-13T07:56:10","date_gmt":"2026-01-13T07:56:10","guid":{"rendered":"https:\/\/medeniyyetdunyasi.az\/?p=2531"},"modified":"2026-07-23T13:33:46","modified_gmt":"2026-07-23T13:33:46","slug":"m%c9%99d%c9%99niyy%c9%99t-dunyasi-%e2%84%9648","status":"publish","type":"post","link":"https:\/\/medeniyyetdunyasi.az\/en\/arxiv\/2025\/m%c9%99d%c9%99niyy%c9%99t-dunyasi-%e2%84%9648\/","title":{"rendered":"THE WORLD OF CULTURE \u2116 48 by authors"},"content":{"rendered":"

Aygun Hasanli Zayrali gizi<\/strong><\/p>\n

Museums in the digital age: organization and prospects of virtual museums<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/BNUK9410<\/a><\/strong><\/p>\n

 <\/p>\n

Esmira Vagabova Rahim gizi<\/strong><\/p>\n

About the state of Baku museums during the second world war (1941-1945)<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/FBOF9943<\/a><\/strong><\/p>\n

 <\/p>\n

K\u00f6n\u00fcl G\u0259ncmal\u0131yeva Nurm\u0259h\u0259mm\u0259d q\u0131z\u0131<\/strong><\/p>\n

Artistic-Decorative Characteristics of Religious Ceremonial Items<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/AWXS3186<\/a><\/strong><\/p>\n

 <\/p>\n

Ayan Khalilova Novruz gizi<\/strong>
\nArtistic-Technical Features of Azerbaijani <\/strong>\u201cShahname\u201d Motive Plot Tiles<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/VFDS4852<\/a><\/strong><\/p>\n

 <\/p>\n

Shahla Aliyeva Huseyn gizi <\/strong><\/p>\n

The Test of \u201cHard Times\u201d or Successful Creative Searches of Young Actresses<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/QSYZ9007<\/a><\/strong><\/p>\n

 <\/p>\n

Elchin Gafarli Hajiagha oghlu<\/strong>
\nAesthetic Problems of the Modern Turkish Theatre<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/TYEJ4534<\/a><\/strong><\/p>\n

 <\/p>\n

Yasin Khalilov Khalaf oghlu<\/strong><\/p>\n

Sphericality in Music: the Metaphysics of Circular Harmony<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/YDND9740<\/a><\/strong><\/p>\n

 <\/p>\n

Zamiq Aliyev Balarza oghlu<\/strong>
\nMugham and Its Historical Roots<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/WYVF4716<\/a><\/strong><\/p>\n

 <\/p>\n

Gulnar Verdiyeva Alfi gizi<\/strong>
\nHistory and Performance Features of Azerbaijani Mugham Schools<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/BEVD5452<\/a><\/strong><\/p>\n

 <\/p>\n

Fazila Ramiz gizi Nabiyeva<\/strong>
\nManifestation Aspects of the \u201cBayati-Shiraz\u201d Makam in the <\/strong>Scientific and Theoretical Heritage of Uzeyir Hajibeyli<\/strong><\/p>\n

https:\/\/doi.org\/10.5209\/GHTI7126<\/a><\/strong><\/p>\n

 <\/p>\n

Nasirova Fidan Irza gizi<\/strong>
\nComposer Ilaha Gismet’s Composition \u201cMystic Pause\u201d for Tar and <\/strong>Kannel Instruments<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/VPZF8994<\/a><\/strong><\/p>\n

 <\/p>\n

Toghrul Mirnazim oghlu Asadullayev<\/strong>
\nNational Performing Art in the Work of Uzeyir Hajibeyli<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/ZKPX6086<\/a><\/strong><\/p>\n

 <\/p>\n

Nargiz Kangarli Latif<\/strong>
\nProfessional Reflection in Musical Performing Art<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/MRYW7529<\/a><\/strong><\/p>\n

 <\/p>\n

Shukurova Konul Arif<\/strong>
\nAbout the Standards of the Azerbaijani Song Genre During the <\/strong>Independence Period: \u201cNovruz Gyalib\u201d (Novruz Has Come)<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/TAVU6813<\/a><\/strong><\/p>\n

 <\/p>\n

Elnara Majidova Kitabulla gizi<\/strong>
\nAbout the Contemporary Functioning of Azerbaijani Piano Art<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/XVJQ1555<\/a><\/strong><\/p>\n

 <\/p>\n

Ulkar Rzayeva Rasim gizi<\/strong>
\nMusic in Azerbaijani Cinema of the 1970s-1990s:<\/strong>
\nTraditions and Artistic Orientations<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/EUVK7575<\/a><\/strong><\/p>\n

 <\/p>\n

Sevinj Alasgarova Alakbar gizi<\/strong>
\nArtistic Characteristics of Female Images in the<\/strong>
\nCreativity of People’s Artist Maral Rahmanzade<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/ZTER8024<\/a><\/strong><\/p>\n

 <\/p>\n

Sevil Alifettah kizi Karimova<\/strong>
\nFormation Of The Superrealism In The Context<\/strong>
\nOf The Interpretation Of Realistic Trends In American Visual Art<\/strong>
\n(On the eve of Carol Feuerman’s solo exhibition in Baku)<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/TSWR2416<\/a><\/strong><\/p>\n

 <\/p>\n

Leyla Azad gizi Isayeva<\/strong>
\nA Collection of Key Postmodern Symbols in the Work<\/strong>
\nof Malik Aghamalov<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/GBFO1816<\/a><\/strong><\/p>\n

 <\/p>\n

Sevinj Aliyeva Gachay gizi<\/strong>
\nThe Theme of Karabakh in Contemporary Azerbaijani Painting<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/QCWG1920<\/a><\/strong><\/p>\n

 <\/p>\n

Narmin Kerimli Mukhtar gizi<\/strong>
\nThe Artistic Expression of the Human Image in<\/strong>
\nTofiq Cavadov\u2019s Portrait Art<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/RFJI3691<\/a><\/strong><\/p>\n

 <\/p>\n

Aynur Mammadova Sakit gizi<\/strong>
\nFormation of the Karabakh theme in Azerbaijani painting<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/IYEM9820<\/a><\/strong><\/p>\n

 <\/p>\n

Haydarova Esmira Fakhraddin gizi<\/strong>
\nForm and Color Solution in Vajiha Samadova’s<\/strong>
\nStill Life Genre Works<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/HBYB4875<\/a><\/strong><\/p>\n

 <\/p>\n

Leyla Abushova Ramiz gizi<\/strong>
\nArtistic and Aesthetic Features of the Landscape Genre in the Works of People’s Artist Baba Aliyev<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/ZXIS7662<\/a><\/strong><\/p>\n

 <\/p>\n

Subhan Mammadov Ali oghlu<\/strong>
\nSynthesis of Reality and Symbolism in Agha Ali Ibrahimov’s Genre<\/strong>
\nPortraits<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/HYAE7237<\/a><\/strong><\/p>\n

 <\/p>\n

\u0410\u0439\u0434\u044b\u043d \u0422\u0430\u043b\u044b\u0431\u0437\u0430\u0434\u0435 \u0410\u0433\u0430 \u042e\u043d\u0443\u0441 \u043e\u0433\u043b\u044b<\/strong>
\n\u0422\u0440\u0438 \u043f\u0443\u043b\u0438 \u0444\u0435\u043c\u0438\u043d\u0438\u0437\u043c\u0443, \u0438\u043b\u0438 \u00ab\u0447\u0430\u043a\u0440\u044b\u00bb \u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e\u0439 \u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0438\u0438<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/FTUG3492<\/a><\/strong><\/p>\n

 <\/p>\n

Abbasagha Alizade Fazil oghlu<\/strong>
\nPoetic and Aesthetic Features of the Psychological Drama Genre in Azerbaijani Cinema<\/strong><\/p>\n

https:\/\/doi.org\/10.52094\/LOAN6285<\/a><\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Aygun Hasanli Zayrali gizi Museums in the digital age: organization and prospects of virtual museums https:\/\/doi.org\/10.52094\/BNUK9410   Esmira Vagabova Rahim gizi About the state of Baku museums during the second world war (1941-1945) https:\/\/doi.org\/10.52094\/FBOF9943   K\u00f6n\u00fcl G\u0259ncmal\u0131yeva Nurm\u0259h\u0259mm\u0259d q\u0131z\u0131 Artistic-Decorative Characteristics of Religious Ceremonial Items https:\/\/doi.org\/10.52094\/AWXS3186   Ayan Khalilova Novruz gizi Artistic-Technical Features of Azerbaijani<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60,61,64],"tags":[],"class_list":["post-2531","post","type-post","status-publish","format-standard","hentry","category-60","category-arxiv","category-esas-shif"],"_links":{"self":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2531","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/comments?post=2531"}],"version-history":[{"count":35,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2531\/revisions"}],"predecessor-version":[{"id":3194,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/posts\/2531\/revisions\/3194"}],"wp:attachment":[{"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/media?parent=2531"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/categories?post=2531"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/medeniyyetdunyasi.az\/en\/wp-json\/wp\/v2\/tags?post=2531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}