The innate artworks are created spontaneously and as a part of the daily life of local people, and by their very nature, they do not adhere to the pre-established norms of art. The native effigies are regarded as part of the innate art made based on the beliefs, customs, and symbols of a particular region's culture and do not resemble other effigies in appearance. The Teke effigy of Azerbaijan, which represents the arrival of spring, is an icon that has emerged in a particular region and is shown in rituals in line with the beliefs of its people.
This study utilized a descriptive-analytical approach and library resources to investigate the historical and symbolic meanings of the Teke effigy. The study was based on iconological studies, a research approach pioneered by Erwin Panofsky at the turn of the 20th century. According to iconological presumptions, Teke has been investigated at three levels: pre-iconographic, iconographic, and iconological. The first and second levels are concerned with the innate and formal characteristics of an artwork, as well as its regulating emotions. The third and most crucial level examines the connections between the artwork and the cultural, literary, and social context. The iconological study of the aforementioned artworks helps determine the artwork's meanings, setting, ideological context, and worldview, which is a byproduct of society and culture. According to the case study’s findings, the Teke effigy, in addition to having a close bond with Azerbaijani literature, beliefs, ideologies, and identity, is compatible with the characteristics of innate art.