"The protection of historical and cultural monuments is regulated by law in the Republic of Azerbaijan. This law defines not only the preservation of monuments but also relations concerning their study and proper use. Historical and cultural monuments refer to archaeological and architectural objects, ethnographic, numismatic, epigraphic materials, art samples, anthropological findings, as well as buildings and memorial sites related to historical events and personalities. This heritage is the bearer of the nation's memory, identity, and spiritual values".
This was stated by Ülviyyə Həmzəyeva, a member of the Culture Committee of the Milli Majlis, in a statement to Modern.az.
The deputy emphasized that legislation in the field of monument protection is formed on the basis of the Constitution of the Republic of Azerbaijan, special laws, and international agreements to which Azerbaijan is a party.
“The deliberate destruction or damage of historical and cultural monuments creates liability under Article 246 of the Criminal Code of the Republic of Azerbaijan, and this can result in a fine or deprivation of liberty. One of the issues that has recently caused widespread discussions in society is the application of graffiti on historical buildings. In particular, the graffiti drawn on the building of the Nizami Cinema Center brought this topic back into relevance. This incident raised an important question. Is graffiti a cultural indicator, or a form of behavior that harms the urban environment"?
In fact, graffiti is a branch of modern art. In Western countries, this art form is accepted as a means of individual expression, conveying social messages, and a part of urban aesthetics. In cities like Berlin, London, and New York, special zones are allocated for graffiti, and artists working in this field are recognized internationally. In such an environment, graffiti is not considered vandalism, but a controlled and valuable art form:
“However, when it comes to historical monuments, the approach fundamentally changes. Historical buildings are not merely composed of stones and walls – they are living witnesses to the nation's past. From this perspective, intervention in places like Icherisheher or the Nizami Cinema Center is not only an aesthetic disruption but also considered disrespect for culture. In such cases, graffiti is no longer art, but openly transforms into vandalism”.
Ü. Həmzəyeva noted that the desire of young people to express themselves often lies behind graffiti:
“When there is no suitable platform, this energy is directed in the wrong direction. Sometimes, the issue is generally more about thoughtless behavior and random actions than creativity”.
The deputy also spoke about solutions to the problem:
“The solution to this problem is possible not through prohibitions, but through proper guidance. It is important to conduct educational work with young people, develop their creative potential, and most importantly, create legal street art spaces. If special areas for graffiti are allocated in modern districts, industrial zones, and on empty walls, both the aesthetic appearance of the city will be preserved, and young people will be able to express themselves freely.
Consequently, graffiti is neither an entirely positive nor an entirely negative phenomenon. Its value depends on the context. When properly managed, graffiti adds color and dynamism to the city; when applied without control, it harms cultural heritage. The main issue is not graffiti itself, but where and how it is applied. In the naturally taken photos, as an artist, I did not see a work of art, and in this case, graffiti is no longer considered art, but openly vandalism. It is necessary to conduct serious work with young people, inform them, and as a punishment, make them realize the gravity of their actions by having them restore the damaged wall together with professionals. Street art projects should be supported, and awareness-raising about aesthetic and cultural values should be conducted”.
