Against the Background of Revolutions, Religious Fanaticism, and Pressures ‒ Satirical Magazine (Iranian Period of “Molla Nasreddin” Magazine)

Abstract

Azerbaijani cartooning evolved in close connection with European and Russian satirical literature and media, adapting to the local cultural environment and developing both national and international artistic forms. It occupies a unique place in the history of world caricature, positively influencing the formation of satirical press and graphics in Central Asia, Tatarstan, Crimea, the Caucasus, and especially Iran, and has played an invaluable role in the advancement of political satire. The research adheres to the principles of historicity and chronological sequence, utilizing historical-comparative and art analysis methods. It highlights the contributions of Azerbaijani satirical media, writers, publicists, and especially cartoonists, from the perspectives of enlightenment, national revival, progress, and freedom. The study analyzes cartoons that carry a deep social and political weight, educational content, psychological impact, national color, sarcasm, reproach, and criticism. The scientific and theoretical study of Azerbaijani caricature – an essential part of global visual art – alongside research into the artists who contributed to this field, the genre’s modern popularity, and its recognition within society, underscores the importance of this art form and confirms the relevance of this topic. Our main goals in this research are to: undertake a deeper study of Azerbaijani caricature and its sphere of influence; conduct fundamental research into this genre; assess the role of the satirical press in advancing the art of caricature; identify the key features of national caricature traditions; and analyze the work of artists in this field, with particular focus on the publication of the satirical magazine “Molla Nasreddin” in Tabriz in 1921, which boasted a rich tradition of caricature. Additionally, we aim to highlight the positive impact and prestige of “Molla Nasreddin” on Iranian satire, emphasize the press’s role in the development of caricature, and outline the main stages of this evolution in chronological order. The research covers the various forms and stages of development within satirical graphics and caricature, examining the content, form, style, and artistic techniques of caricatures published at that time. The creativity and works of Seyid Ali Behzad, Molla Nasreddin’s leading artist, are also a focal point. The research’s scientific novelty is underscored by the problem’s formulation, demonstrated through solid evidence and analysis.