Everything in the world is interconnected. In order to understand an event one should know its roots, context of its appearance, one draw a thread and it takes him away to obscurity.
Ilias Aydarov was born and grown up on the river Volga. This place is very special. Here in the place of location of the city of Kazan, by the God’s Will or some cosmic whim Volga is divided at its length on two equal parts and bends 90 degrees changing its direction from the East to the South to the Caspian Sea. This notable point of the world space is multiply strengthened by the closeness of the Ural Mountains, separating by their chain the European edge from Asia. There is here concentration of frontier continental, landscape and time zones. Since earliest times there is here a strong information exit to the outer space.
Volga is the first-rate river of Europe, cradle of European nations. This river is progenitress of the river European civilizations, a world cultural junction. It is a place of clash of worlds, crossing of migration streams, an intensive cultural work of multilingual civilizations of the West and the East. During thousands of years were developed here traditions which contain two sources – the West and the East.
Ancestries of Ilias originated from this place. Volga region, Ural, Western Siberia are historical places of settling of Kazan Tatars. Great-grandfather of Ilias Mutygulla Tukhvatullin was a mullah and a teacher in Uralsk. His house (it exists till now) was a peculiar cultural center which united the city intelligentsia. Talent of Gabdulla Tukai (the most famous and favourite Tatar poet) was born in this atmosphere. Mutygulla effendi took to his family an orphan child after death of his father who was his friend and to whom he gave promise to take care about the boy. It was exactly he who noticed and developed literary talent of the beginning poet.
Grandmother and grandfather of Ilias devoted themselves to music. Sitdik Aydarov was a famous actor of Music Drama Kazan Theatre. Grandmother Galia Kaybitskaya after graduating from the Moscow Conservatory became prima donna of the Tatar State Academic Theatre of Opera and Ballet. Her second husband was a brilliant performer (violinist, symphonic and opera conductor), talented pedagogue – Ilias Aukhadeev.
Father Aydarov Sayar Sitdikovich was a famous scientist, doctor of architecture, professor, Corresponding Member of the Russian Architectural and Building Academy. Mother Lutsia Khusainovna Aydarova had university education and was one of the first beauties in the city. She was a person of great intellect, talent, energy. His elder brother Aydarov Ravil Sayarovich was an Honored architect of Tatarstan, and a painter-aquarellist famous in the republic.
From the very childhood Ilias was as though imbued with music, architecture, art. It was his natural environment, his air. Near himself and in the nearest circle he saw an intensive creative work. The word “creation” was a keyword in his family.
One of the most vivid recollections of Ilias connected with a trip to the ancient bulgar site of ancient settlement, where archeologists made archeological digs of the ancient city Bulgara – the ancient capital of the Volga-Kamsk Bulgaria. His father Sayar Sitdikovich Aydarov was the first developer of the project of restoration of the architectural monuments of the Bulgaria Middle Ages, he defended Ph.D. thesis and drive often to Bulgary for team-work with architects. Once he brings his family with himself. Together with his brother-student Ilias spent all days on the archeological digs and painted sketches. The enormous site of ancient settlement made a lasting impression on Ilias. Ancient mausoleums, minarets, the dust of centuries itself, steppe wind, steep bank of the river Kama all these enriched his soul. A bright July knight near the walls of the Black chamber, its clear graded silhouette, rounded dome on the background of star sky with enormous yellow moon got in his soul once and for all. Later Ilias used many times his childish, Bulgar sketches in his big serious canvases.
At the art exhibitions of Moscow he appeared unexpectedly, as alien, and he was already an event at the artistic horizon: successful, daring and unusual. Inner relaxedness of the artist even at those times revealed itself in his free relation to the nature, models. Ilias had never been a copy-maker, he had not been a slave of nature. Nature is only a cause for creation. It is enough for him once to see and to understand what is the main in the person, the rest he develops around the main, finding the nature, and it may be more precise than any copy. Portrays painted by him are full of electrified, festive atmosphere and at the same time they full of inner smile, good-natured play. In general, play as method of perception and reflection of reality is typical for Ilias Aydarov painting. Painting portrays he depicts not nature itself, but that which it would like to be or would might to be. He becomes keen on this play and looks in his heroes and plots for brightness of life feelings and experiences. At the same time he makes from his personages something more than they are in real life. Stroke of the artist’s brush is large, sweeping, exceeding contour of lines. It is surprising that by such manner of painting, casual, draft the artist achieves preciseness of style, texture, details of suit, face. Being a master of painting of historical suit Ilias dresses his heroes in velvet, brocade, silk, atlas and gauze and puts them in unreal, unhistorical environment. According to the laws of play he mixes in the plot space epochs, events, styles. But there is no crack-up in his canvases; most likely they are filled with humor and light irony.
One can recognize portrays painted by him by style, these portrays bring something really new. According to his style and spirit Ilias Aydarov is far from neoclassicism of Shilov or neomannerism of Glazunov, most likely that he is postrealist. His style passions are wide but one can recognize him not only by one typical technique of painting (he has many) but by energy, temperament, virtuosity of stylizations, virtuosity of making compositions, dynamics of a picture line. Elements of kitsch in the painting of Ilias Aydarov are signs of play, shine of luxury, risk of limit states of painting style. Peace state doesn’t interest the artist, plot or nature in the state of rise, nerve-strain is closer to him.
Peculiarity of the creative work of Ilias Aydarov is that he is opened to the surrounding world by all his feelings. His receptors of perception are not deteriorated by emotions. Sometimes it seems that he see, hear, feels more that others. Sensible relation to color, light, smell, sound, form is always on the tip of the brush of Ilias Aydarov. It is worthwhile, it is available to few. His energy comes out to canvases and flows over. Visitors irrespective of the level of preparation feel and understand it.
He works in different genres, in different painting and graphical techniques. According to his passions Ilias is more likely pluralistic than successive. As times goes by Ilias often goes back to graphics, water-color, although the main place in his work is occupied by canvases. But he already paints not only portrays, he paints in oil multifigured and multiobject canvases. His palette became more liberal, rich in light colors, morning states of soul. He dreams a lot about the past, the play, sometimes he makes master citations of picturesque moments from the works of the painters of the past. At the same time he creates mise en scene, characters with the atmosphere of time and system of relations which could not exist at that historical period.
He is not devoid of using citations from the painting of the XVIII-XIX centuries, variations on different themes. The painting of the past is like a family album of recollections for the artist. Taking situations from the past turns for him into new feelings, gone from the contemporary life. He returns from the painting of the last centuries lost emotional states and admire them. He just offers to move together with him to the other historical space and to stay for a while with personages in the past and personages from the past to stay in the present.
A delicate distinction between the past and the present is formed, but this melancholy devoid of despair and pessimism, it leaves reflection of hope. Dualism of Ilias Aydarov reflects a restless soul of a man of the present, who is close to the values of the past centuries, but they are not relevant, they do not reflect content of life of the XXI-st century.
He as if gathers glass-beads scattered by the time. Each bead is a part of something general, big, beautiful and eternal. And only together they form a perfect picture of the world, where Nature, People and Animals are always perfect. His canvases command respect to the past, to the present, all these fantastically interflow in his pictures. Life problems are not his theme. If it would be possible to put together all pictures of Ilias Aydarov we would see a modern model of the perfect world.
Canvases of Ilias Aydarov do not reflect reality, real events. He is not a realist. His pictures do not contain moralizing and didactic principles. They do not call upon something. Moral of his pictures lie in the search of beauty as a method of reflection of the reality (do not mix up with prettiness). To the opinion of Ilias Aydarov beauty is a quality peculiar to every living being. Wholesome and moral background of his pictures is not far-fetched, it is free and natural expression of creative philosophy and creative method. Beauty in the pictures of the artist by its style is sometimes near to an artistic kitsch, but by its content it is filled with tenseness or intrigue. Optimistic, life-asserting power, festive atmosphere – sometimes it is reserved, sometimes it runs over frames of a canvas to visitors – are recognizable sings of the pictures of Ilias Aydarov.
In the painting of Ilias Aydarov there are a lot of at most filled, extreme states. But one can always see a spring of character, spring of line, spring of space and action. In composition methods of the artist there are a lot of modern technical analogues taken from cinema: principle of random shot, advertising video aesthetics and others. One can look at the pictures of Ilias Aydarov for hours, they do not bother, they cast a spell on, and one does not want to give them up.
Ilias works quickly, he does not think over something. If a moment of hit presents the work is successful, if no he does not destroy it he turns it to a masterpiece. On the opinion of the artist, signs of creative search must not been seen on a canvas, because it is not a feature of professionalism. Canvases, especially portrays must be created in one go.
Ilias does not like and can not tell about his works. Usually he does not wait for inspiration, he takes it in his hands and he is not afraid of frighten it off. He says that inspiration was thought out by loafers in order to justify their laziness. Inspiration for him is his mood from which colors on his canvases depend. Ilias Aydarov considers that he should be obliged to his destiny (and he appreciates it) that he is occupied with favorite work and he gets from his work a great pleasure.
Pictures of Ilias Aydarov are in harmony with his time. They are complicated, polyphonic. A lot of principles, directions, schools and trends are stylistically interpreted in his pictures. Object in its reality is not important for him; he appreciates impression of an object. And although he is always different, at the same times he is always the same. He loves luxury, brightness, secret intrigue, secret spring; they are present in his every picture. Artistry which is not enough in the usual life he fills up on his canvases, by this he gives pleasure to his admirers, achieves success.
Ilias Aydarov phenomenon consists in his ability to integrate in his works very different. Collision of these different principles is sometimes more sometimes less remarkable. In his paintings there is place for harmony and dissonance, contradictions and irrelevances, complicating initial picture line, put an intrigue. He is audacious in the search of paradoxes in painting.
Each of the paintings of Ilias Aydarov possesses a part of him, but there is no picture in which the whole of him would be. He is cosmopolitan in his creation, he speaks different artistic languages.
At the present time Ilias Aydarov works on the new stage of his creation. He follows his way in painting and in life, having its own value system, his own code of honor and his professional and human ethics.
The life again offers new circumstances. What will he be? We live and we see
member of the Architects Guild of Russia, Professor