Ramazan with the Poor 1938

Curator: Here we have "Ramazan with the Poor," a 1938 watercolor by Azim Azimzade. Editor: It's quite striking. There's a communal feel to it, but also a palpable sense of hardship, you know? I'm immediately drawn to the materiality, the way the light interacts with what looks like the texture of coarse fabrics and worn surfaces. Curator: Indeed. Azimzade, an Azerbaijani artist, painted this during a time of great social and political upheaval in the Soviet Union. "Ramazan with the Poor" offers a glimpse into the lives of ordinary people observing Ramazan, a crucial element of their Muslim identity, which they maintained during Soviet oppression. Editor: The compressed composition really heightens that sense of…containment. There’s very little visible that wasn’t made and carefully positioned. The stacks of colorful fabrics—they must represent some aspirational vision of wealth, considering their humble circumstances. Watercolor is interesting because the transparency renders the layers of materiality visible in a way that oils perhaps wouldn’t. Curator: Exactly. Azimzade frequently used his art to portray the socio-economic realities of the time, subtly criticizing the Soviet regime through scenes of everyday life. By focusing on religious traditions practiced even under duress, he validates the survival of culture despite external pressures. This intimate domestic scene, viewed in a public space, brings this private resistance into view. Editor: Look at how deliberately he placed the teapot, the shared food. Every object is significant, representing resources, labor, and sharing—it all points towards what these people had to create, together. What I am especially struck by is the inclusion of the small cat! Curator: And this painting allows the modern viewer a poignant view of past lifeways and practices—customs that have been transformed. Editor: It truly encapsulates the resilient spirit of community through this humble medium and depiction. Curator: A poignant illustration, emphasizing shared hardship. Editor: Very much so; a window into material life.