Volume 02 Issue 11-2022
7
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article expresses very valuable thoughts about Rakhima Akhmedov, who has a celebrity title of international
significance, an artist of Uzbekistan, who has made a huge contribution to the development of the fine arts of
Uzbekistan with his creative and pedagogical activities.
KEYWORDS
Rakhim Akhmedov, painter, master of fine arts, creativity, portrait, still life, landscape, teacher, mentor.
INTRODUCTION
From the years of independence to the country of
Uzbekistan, it has given unique blessings such as
praising its creative sons who have achieved such great
and unlimited careers. Among them, he gave a great
artist like Rahim Akhmedov, who sings the pain of the
people and the homeland. He is the holder of the title
of “People’s Artist of Uzbekistan” and the Order of
“Great Merit”.
Akhmedov Rakhim was born in 1921 in the city of
Tashkent. R.Akhmedov, who was orphaned at an early
age, was brought up in an orphanage and began to
practice fine arts there. Later, he studied at the
Tashkent Academy of Fine Arts in 1937-1941 and
Research Article
THE SIGNIFICANCE OF RAKHIM AKHMEDOV’S WORK IN UZBEKISTAN
FINE ARTS
Submission Date:
November 01, 2022,
Accepted Date:
November 05, 2022,
Published Date:
November 11, 2022
Crossref doi:
https://doi.org/10.37547/ajsshr/Volume02Issue11-02
Tolqin B. Akhmedov
Senior Lecturer Department
Of “
History And Theory Of Art
”
National Institute Of Fine Arts And Design, Named
After Kamoliddin Bekhzod, 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 02 Issue 11-2022
8
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
improved his skills under Hikmat Rakhmonov. In
addition, R.Ahmedov took lessons from N.Volkov in
the process of learning the secrets of painting at the
university, and Volkov’s influence is definitely felt in the
work of the young artist. An incident happened. That
is, in the last year of his studies, Volkov goes to the
front. At the same time, R.Akhmedov will continue his
graduate course in Samarkand, where P.Benkov is
teaching. So R.Akhmedov liked Benkov's impressionist
style of painting there. As a result, the future artist will
have the direction of creating works in two different
styles, based on the lessons he received in visual arts
from two teachers. So, if you look carefully at the
works of the artist, you can clearly see the second,
Benkov style, whose portraits in the interior under the
influence of Volkov are created in a black style and his
works related to plein air are created in a system of
bright colors against the background of open nature.
During the war, R. Akhmedov was in military service on
the North Caucasus Front. There, the artist took an
active part in propaganda work, worked on many
portraits, and improved his skills. After the war, he
returned to Tashkent and continued his work, and in
1947 he was sent to study at the Institute of Painting,
Sculpture and Architecture named after I. Repin in
Leningrad
(now
St.
Petersburg).
Here
I.A.
Serebryanniy, A. A. Mylnikov graduated from the
institute in 1953 after studying under mature Russian
artists such as Yu.N. Neprintsev and creating a diploma
work entitled “People’s Defense”.
THE MAIN FINDINGS AND RESULTS
Returning to Tashkent, the artist began his first work
by creating works faithful to the traditions of realistic
art, first of all to the traditions of brotherhood.
Thoughtful, considerate, hard-working people who
have tasted the bitter-sweetness of life found their
reflection in his works. In the first works of
R.Akhmedov, along with showing the knowledge he
acquired and mastered during his studies, it gradually
became apparent that his individual style began to
appear in his works. This point was clearly manifested
in the artist’s choice of colors, new aspects of the
compositional solution of the work and the opening of
the character of the image. In each of his created
works, his desire to express his feelings and attitude
towards existence had an important place in these
searches. In contrast to the social idea and ideology of
the time, the artist’s desire to express his attitude to
existence developed further in his later works. This
feature can be clearly felt when observing his
independent works after graduation. In the first works
of the artist, the principles of the academy occupy a
leading place. Rather than emotions, the mind and
tendency to think logically are stronger in them. The
painting “First Salary” created by the artist in such a
situation in 1954 deserves attention here. The
compositional structure of the work corresponds to
the traditions of Russian democratic art, first of all, it
was created in the spirit of the method of socialist
Volume 02 Issue 11-2022
9
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
realism based on the principles of fraternity and
composition. The plot of the work is simple. In it, the
incident that happened in the family of the first young
Uzbek worker, on the day of the worker's child's first
salary, was written. The vividness of the characters and
the naturalness of their actions, their internal
experiences at that time, are skillfully worked out and
found their correct and truthful compositional
solution.
“First Salary” 1953 illustration. It is expressed by the
fact that the Uzbek people have a way of living,
adapting to the environment of the former regime,
based on real and life events.
R. Akhmedov’s creative path is closely related to his
pedagogical activity. After graduation, the artist
taught students at the art department of the theater
and art institute named after N. Ostrovsky (now the
National Institute of Art and Design named after
Kamoliddin Bekhzod) in Tashkent in 1954. He began to
feel nature more deeply in the process of conducting
field practice in Burchmulla, Khumson and Aktash in
the summer months of Tashkent. In his compositions,
he found his reflection in the organic connection
between man and nature. These qualities were clearly
expressed in the artist's early genre portraits, such as
“Portrait of A. Toshtemirov” (1956), “Portrait of an Old
Collective Farmer” (1956), “Mother’s Thoughts”
(1956).
In the artist’s composition “Mother’s Thoughts”
(1956), in the shade of a tree, in the warm, bright colors
of summer, on the background of a yard illuminated by
the rays of the sun, a woman sitting in the shade of an
old tree expresses the spiritual beauty of a person in
the form of an old mother. “Mother’s Thoughts”
picture, analysis. In the work, she was able to express
with great creative skill the faithful artistic image of a
humble mother, who went to war, but still waited for
her husband and sons, who did not give up hope of
their return. It was in this unique portrait that the artist
embodied the ideas of humanism and served as the
basis for the creation of the statue of Mother Mother,
created by the sculptor Ilhom Jabbarov, in the
Independence Square. This portrait was creatively
used by R. Akhmedov’s “Mother’s Thoughts” portrait
on the recommendation of Islam Abdug’anievich
Karimov, the first president of Uzbekistan during those
years of independence. In the portrait, the figure of the
creative mother is depicted on the background of a
house with an oriental mountain hut and a simple clay
plaster roof, in the national clothes worn by old Uzbek
mothers at that time (that is, in a simple air-colored chit
dress, a black turban is worn over it, and a simple,
flowery scarf is wrapped around the head in the way
that old women used to wrap it at that time) reflected
in life.
The artist’s portrait compositions such as “Mother’s
Thoughts”
(1959),
“Young
Mechanizer”,
Volume 02 Issue 11-2022
10
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
“Mechanizer” portrait (1960) and “Soldier at Work”
(1960) clearly show the features of storytelling typical
of this period.
“Motherhood Dawn”. (1962 DSM) is the heroine of the
work - a young mother figure, in which the inspiration
of the creator can be seen organically flowing with the
poetic state of nature in the early morning field. In the
work, in the morning, in the hot summer months, the
mother, who is sleeping in the wooden cribs typical of
the mountain village, gives up her sweet sleep due to
the crying of her baby lying on the swing, and thinks
that the child will rest, and takes him in her arms and
feeds him with breast milk. is clearly felt. At the same
time, in this work, the artist shows that great artists
such as Leonardo Da Vinci and Raphael Santi brought
to visual art, used the Uzbek style of depicting the
image of Madonnas, and thus brought the great idea
of “humanism” and thus humanitarianism. it is felt that
he has masterfully applied his ideas in a national spirit
and in an oriental interpretation. That is, in this picture,
the creator managed to depict the motherly happiness
of the Uzbek Madonna in a natural environment in a
life-realistic way typical of the life of the mountain
peoples.
In the work “Song” (1962), he solved a deep
meaningful task
in
a complex multifaceted
compositional solution. “Song”(Image).
The complexity expressed in this work lies in the fact
that the author tries to express the characters of the
work in different situations, the hard-working, hard-
working peasant women of Uzbek, who listen intently
to the well-known national melody of the time, the
Uzbek classical music pouring into the drama of the
picture. The artist manages to draw the viewer’s
attention to the spiritual nuances of the faces of each
of the heroes of the work represented in the painting.
The author skillfully wrote that women listen to a
dreamy, lyrical tune after lunch on a wooden table in a
field shed, as if they have traveled to the past, and are
immersed in their own imagination, with exciting
sincerity. By raising the horizon line in the picture, the
artist manages to reveal the appearance of the
participants in his work in a calm, peaceful
environment, while freely placing them on the canvas
surface. As a result, the viewer will hear both a sad and
awe-inspiring melody in his heart. The work brings out
the different mental moods of those gathered around
the table in its color relationships. The new aspects of
the work are evident in the strengthening of the
rhythmic features of the compositional solution of the
work and in the attempt to exaggerate their decorative
side in the color system and use the power of the color
system of unity. The work was written against the
background of the lush green landscape of the bright
summer, wide cotton field, in the heart of the orchard,
in the cool field shed.
Volume 02 Issue 11-2022
11
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
Such a feature will become stronger in the artist’s later
works, especially in the genre portraits created by the
artist during his trip to the Surkhandarya oasis.
Also, it is correct that Ustoz Rahim Akhmedov included
images of the great intellectuals of Uzbekistan in the
series of paintings he painted between 1985-1990,
when he reached the peak of his creativity. Among
such portraits of the artist, Artists B. Portraits of
Boboev, L.Salimjonova, film director Sh.Abbosov, and
H.Rakhmonov, the first teacher in the orphanage, can
be included. The fact that he wrote his first teacher
among these portraits became a permanent tradition
in the works of his apprentice artists in the following
years.
Because in 2021, a national exhibition was organized in
the Central Exhibition Hall of the Academy of Arts of
Uzbekistan in connection with the 30th anniversary of
the independence of Uzbekistan. Among the artists
who participated in this exhibition with their works, V.
Mazitov (1953), T. Rakhmetov, and the portraits of R.
Akhmedov created by M. Toshmurodov and Murtoza
Ergashev, one of the most valuable and dear students
of the teacher, who became dear like a father, were
put on display. This was also a gift worthy of the
teacher’s 100th anniversary. So, it is a clear example
that the tradition of portraying the portraits of
teachers started by teacher R.Akhmedov continues in
the works of his students..
Following the tradition started by the teacher, many
graduate students of our institute paid special
attention to writing artistic images of their teachers in
various departments in their Qualification Graduation
works. The management of the institute, who correctly
understood and supported this tradition, on the
occasion of the “Day of Teachers and Mentors” on
October 1, in the exhibition hall of the institute, a
number of young graduate students were mentored by
artists such as People’s Artist of Uzbekistan Rozi
Choriev, famous Uzbek film artist Bakhtior Nazarov,
Sabir Rahmetov, Zayniddin. It is no exaggeration to say
that the portraits of their teachers are exhibited in the
works of students such as Fahiddinov, Fayzulla
Ahmadaliev, Muhammadiyor Tashmurodov, Ulug’bek
Ne’matov, and the continuation of the tradition of
teacher Rahim Akhmedov by the students of his
students in the form of “teacher
-
student” tradition in
our institute is a special “eternal tradition”.
So, in the paintings depicted by Rakhim Akhmedov in
portrait, landscape, still life and household genres, the
artist’s pencil drawings have their own solid solution.
At present, many students of the master painter are
creating in almost all regions of our country, as well as
abroad, and on the basis of passing on the traditions of
the master to young artists in the institute and other
centers of knowledge related to visual arts, continuing
their schools and contributing to the future
development of painting like their teachers.
Volume 02 Issue 11-2022
12
American Journal Of Social Sciences And Humanity Research
(ISSN
–
2771-2141)
VOLUME
02
I
SSUE
11
Pages:
07
-12
SJIF
I
MPACT
FACTOR
(2021:
5.
993
)
(2022:
6.
015
)
OCLC
–
1121105677
METADATA
IF
–
5.968
Publisher:
Oscar Publishing Services
Servi
CONCLUSION
A number of art historians have written about the
teacher and his creative activities, the life and work of
the art historian I. V. Munts R. Akhmedov was covered
for the first time in the book “Artists of Soviet
Uzbekistan” by I. Iras. In addition, the 2001 book “Art
of Uzbekis
tan” (1991
-2001), authored by F. Karamatov
and a group of art historians, contains unique ideas
about R. Akhmedov’s great work in the visual arts of
Uzbekistan during the Soviet regime and the years of
independence. Also, art critics A.Egamberdiev,
N.Abdullaev and others have published many
monographs, popular scientific articles and books
devoted to Rahim Akhmedov’s work. In particular, in
the textbook “History of the Art of Uzbekistan”
published in 2018 by the art critic A. Khakimov, R.
Akhmedov’s valuabl
e thoughts about the worldly and
educational aspects of the works “Mother’s Thoughts”
and “Onali.Tong”, created during the former Soviet
regime, are described. Art critics Nigora Akhmedova
and Elmira Akhmedova published a monograph
entitled Rahim Akhmedov in Moscow, M.: Fund
Mardjani. publishing house, 2018 - 524 pages. Currently,
several copies of this monograph are kept in the library
of the National Institute of Art and Design named after
Kamoliddin. In this monograph, extensive information
about the creative works created by the artist
R.Akhmedov from his youth to various periods of his
creative activity to the end of his life is described with
photo images. In addition, there are many other
sources written about the artist in different years, and
all the interested people who want to know
information about teacher R.Akhmedov can use them
from the library whenever they want.
REFERENCES
1.
I. Iras. Artists of Soviet Uzbekistan. M. V. Munts.
Rahim Ahmedov. pp. 24-27.
2.
Rahim Ahmedov. Catalog. Uzbekicton Art Academy.
“Yozhvchi” publishing house. Tashkent 2001.
3.
F. Karamatov. Art of Uzbekistan. (1991-
2001) “Sharq
publishing-printing joint-stock company. Chief
editorial office”. Tashkent
-2001. pp. 34-35.
4.
Ne'mat Abdullaev. National portrait art of
Uzbekistan. Creative house of publishing house
named after Gofur Ghulam. 2011.
5.
N. Abdullaev. History of the art of Uzbekistan. 2009.
Tashkent.
6.
A. Khakimov. History of the art of Uzbekistan. 2018.
Tashkent.
7.
A. Egamberdiev. R. Ahmedov.
8.
Layla Joraeva. Craftsman. Teacher. Artist. Art. 2001.
No. 3, pp. 23-26.
9.
Rakhim Akhmedov: monograph/N.Akhmedova:
introduction. St. i obshch. ed. E. Akhmedova.- M.:
Fond Mardjani. 2018.-524 p.:il.
