Volume 03 Issue 04-2023
10
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
04
Pages:
10-13
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article shows that under the influence of the position of the artist in modern society, worldview, spiritual and
moral creative aspects, realism was formed as the main base in the painting of Uzbekistan, that classical artists who
have a personal method of work have been filling it with their creativity, that in the years of independence, the realist
direction was manifested in the prolific work of the old and middle generation artists.
KEYWORDS
Aspect, method, realism, avant-garde, revolution, decorativeism, interpretation, installation.
INTRODUCTION
The national art of Uzbekistan is presented among the
art of the world, Europe and the republics of the
former Soviet Union, while not being local, avant-
garde. The artists of the 1990s were not engaged in
revolutionary movements in the artistic direction, their
innovations took on the coloring of a “quiet
revolution”. This is different from the rich historical
and artistic heritage, which in a sense limits the
innovative ideas of modern painters. Today, the artists
of Uzbekistan are reviving historical memory, revising
their artistic heritage, and mastering the latest
achievements of world artistic culture.
The boundary between the stylistic directions and
currents of the 90s painting has conditional
Research Article
THE POSITION OF THE ARTIST IN MODERN SOCIETY
Submission Date:
April 08, 2023,
Accepted Date:
April 13, 2023,
Published Date:
April 18, 2023
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume03Issue04-03
Dr. Khayrullo S. Kasimov
Associate Professor Of The Department Of National Institute Of Art And Design Named After Kamoliddin
Behzod, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajsshr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 03 Issue 04-2023
11
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
04
Pages:
10-13
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
characteristics. During this period, various currents in
visual arts developed harmoniously. They are divided
into realistic, conditional-decorativism, interpretation
of miniatures, installation or non-figurative painting
abstractionism.
Realism became the main base in the painting of
Uzbekistan. Classical artists who have a personal
method of work filled it with their creativity. In the
years of independence, the realistic direction is
manifested in the prolific work of artists of the older
and middle generations. R.Ahmedov, N.Koziboev,
M.Nabiev, R.Choriev, S.Abdullaev, A.Ikromjonov,
S.Rakhmetov, E.Masharipov, O.Muinov, Z.Sharipova,
A.Alikulov and other artists for this direction traditional
historical and genre paintings, portraits, landscapes
and still lifes find their expression.
THE MAIN FINDINGS AND RESULTS
In the development of the realistic direction, especially
in the 1990s, the historical genre began to dominate.
Because in this period, when a new ideology appeared,
a new interest in the historical genre was observed in
all types of art, that is, the representation of national
heroes became widespread. With their unique
approach to the artistic process, they left an effective
mark on it. “The new unorthodox is not so much a
disappointment as it invites and leads us to the famous
ancient Eastern poetry and Sufi philosophy, in newly
enriched artistic and unique forms.”
The process of achieving artistic perfection in Eastern
poetry is approximately the same as in fine art, in other
words, the inner creative idea of the poet is reflected
in the text, the rhymes and rhymes in it perform the
functions of color gradations in fine art, notes in music.
The special plastic forms in the works of artists of
Uzbekistan, despite the clearly visible structural
consistency, in all of them, the elements of the
worldview characteristic of the East are noticeable.
Artists such as R. Kadirov, L. Ibragimov, J. Usmonov, A.
Nur, Z. Sharipova, F. Ahmadaliev, Sh. Khakimov, A.
Rihsitullaev created a new world of plastic images
based on the general ideas of Eastern philosophy and
poetry. They pay special attention to the meaning of
the color gloss and the proportion of the painter.
Each work created in the modern artistic process,
based on the ideas of Eastern poetry and Sufism,
shows the creator’s “personal attitude” to reality.
Commenting on the visual art of Uzbekistan in the
1990s, it is no coincidence that critics say that “the
most important difference of the new philosophers is
clearly visible in the personalization of expression.”
They are united by internal missionary aspirations, as
well as by referring to the national traditions formed
over the centuries. General developments in cultural
life, changes in the development of society were
reflected in the works of these artists.
Volume 03 Issue 04-2023
12
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
04
Pages:
10-13
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
They were the first to perceive new artistic ideas. They
connected it with the ethnocultural heritage, which
was considered the source of various spiritual and
philosophical views that appeared in the new society.
This factor became the basis for the development of
creativity of young artists during the transition period.
The ideas in their works clearly reflect the unity of
cultural and spiritual values gathered in ethnocultural
traditions. The importance of spiritual values became
especially great in the researches of the artists of that
time. Criticism emphasized this in its time. The famous
scientist H.3eidlmayer also stated that the escalation of
philosophical problems in modern art is legitimate.
According to the scientist, “the history of art, which is
the history of the soul”, will be enriched with a deeper
meaning than the essence that has been revealed so
far. These artists are brought together not only by
common aspects of style, but also by a new world view
of events. This, in turn, in the words of art critic A.
Khakimov, gives reason to call them a "new wave" in
the art of Uzbekistan. For them, visual art is the true
beauty of existence, inspiration from traditions,
excessive aestheticization of subjects, and luxury.
Therefore, in their works, a desire for a new
philosophical and artistic understanding of the world
can be felt. In the 20th century, a sufficiently strong
school
was
formed
in
Uzbekistan.
Gaining
independence gave artists a new power to express
themselves artistically they were now free to choose a
method and style. In the work of artists, it was
possible to express their philosophical views, which
could not be expressed in the previous period. In most
of the modern philosophical plastic systems of
painting, the development of the abstract-symbolic
style, which laid the foundation stone in the late 80s,
accelerated. The art of the 90s is distinguished by the
breadth of the range of different styles typical of the
transitional period. On this scale, academic realism,
democratism and national romanticism (most often in
the tone of miniature interpretation), faceless
painting, and avant-garde in the form of installation
solutions exist side by side. To a large extent, this is
explained by the expansion and deepening of the
creative worldview, the desire of authors to go beyond
the boundaries of established patterns.
The establishment of the Art Academy in 1997 was an
important event in the artistic life of Uzbekistan. Its
activities are focused on art education, exhibition work
and promotion of the republic's artistic heritage and
modern art. Among the academicians there are more
painters:
Honorary
academicians
R.Akhmedov,
A.Abdullaev,
D.Roziboev,
M.Saidov,
R.Choriev,
M.Nabiev. Real members of the Academy - V.
Burmakin, A. Ikromjonov, T. Koziev, T. Mirjalolov, J.
Umarbekov, B. Jalolov, A. Mirzaev, J. Izentaev, L.
Ibragimov, B. Boboev, I. Tursunnazarov, S. Abdullaev
and others. The composition of academicians,
consisting of different generations of artists,
Volume 03 Issue 04-2023
13
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
03
I
SSUE
04
Pages:
10-13
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
(2023:
7.
164
)
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
symbolically represents the unique path of the
country’s visual arts in the 20th century.
The national art of Uzbekistan is represented among
the art of the world, Europe and the republics of the
former Soviet territory, without being local, neither
ultra-modern nor avant-garde. The painters of the
1990s, entering into movements that made a coup in
the artistic direction, earned the dream of a “quiet
revolution”. This is largely due to the ri
ch historical-
artistic heritage, which in a certain sense limits the
innovative vision of modern painters and sculptors. In
the painting of the end of the 20th century, the
principles of socio-conditional and general social
maintenance lost their importance and disappeared. In
the 1990s, a group of stylistically unique artists in
Uzbekistan formed an interest in their work by the
audience and experts, and it has not subsided. Serious
developments are taking place in the work of these
artists. The fantastic fairy tales, epics, folklore and
fabric characters, plots, signs and symbols related to
various paintings and rituals created in the new plastic
techniques define a new stage of their painting.
Many achievements in easel painting are clearly visible
in the exhibition organized in the spring of 1999. At the
exhibition, these types of artistic creations were highly
appreciated by enthusiasts and experts.
The 90s brought new names to art. These are B.
Ismailov,
T.
Karimov,
B.
Muhammedov,
N.
Shoabdurakhimov, T. Ahmedov, M. Jalalyan, D.
Sodikova, Z. Sharipova and others. Their work, while
enriching modern fine art, in many ways defines its
own characteristics in the perspective of the 21st
century.
CONCLUSION
In general, when we look at the work of artists who
create in modern painting art today, under the
influence of the position of the artist in modern
society, worldview, spiritual and moral creative
aspects, realism is formed as the main base in the
painting of Uzbekistan, classical artists who have a
personal working method fill it with their creativity, It
is clear that the realistic direction was manifested in
the prolific works of the artists of the old and middle
generations. Therefore, it can be understood from the
above points that under the influence of time, the
creative process continues in a new interpretation.
REFERENCES
1.
Askarova Z. The image of women in modern
visual arts of Uzbekistan. //Dissertation. - T.:
MRDI named after K. Behzod, 2021. - 150 p.
2.
Art of Uzbekistan (1991-2001). //Editorial board:
H. Karamatov, N. Joraev, T. Koziev and others.
Scientific editor: A. Hakimov. Tashkent: Sharq,
2001. - 240 p.
3.
Fine art of Uzbekistan. -
M.: “GALART”, 2013.
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