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NATIONAL ART IN TURKESTAN DURING THE RUSSIAN EMPIRE
PERIOD
Tojiboyev Umidjon Usmonjon o‘g‘li
Fergana State University,
Doctoral student specializing in the history of Uzbekistan
utojiboyev1991@gmail.com, tel: +99891-123-03-70
https://doi.org/10.5281/zenodo.14326435
The attainment of independence by the Republic of Uzbekistan, as in all
spheres, ushered in a new era for the rational and truthful study of our national
art and traditions. The second half of the 19th century marked a unique stage in
the history of the peoples of Turkestan. During this period, a number of
important socio-political and cultural events took place. Particularly significant
changes occurred in the socio-political and cultural life. Political changes, as in
all sectors, had a considerable impact on national art and traditions. When
analyzing the changes that occurred in cultural life, we encounter both positive
and negative aspects. For example, in the period before the Russian invasion,
Uzbek theater possessed a rich artistic heritage of large and small performances,
its own traditions, unique artistic and aesthetic principles, a diverse repertoire,
and talented actors and mentors. Uzbek theaters consist of large and small folk
oral comedies, pantomime plays, satirical and humorous stories and anecdotes,
comic or pantomime dances, red lapars and songs, criticism, askiya, chandish,
etc. Uzbek folk drama consisted mainly of folk comedies, and before the Russian
invasion, complex genres of European drama such as drama, tragedy, and
musical drama were not yet formed.[3. 182].
If we look at the life of the peoples of Turkestan in the second half of the
19th century, we can see that there is a great interest in the performances
shown by artists and masters of art. The performances were mainly shown in
the bazaars. Wizards and acrobats will demonstrate their skills on special
stands. Plays with dolls are shown in the same booths. Theatrical performances
address various topics. In particular, the parades of Russian military units, the
lives of Russian military commanders, dignitaries, and khans in the 1870s and
1880s are depicted. After the actors, the dancers appear on stage. Sometimes at
the beginning of the play, sometimes at the end, one can observe the
performances of the puppet performers. [4. 68].
In fact, the artists spent most of their time in the bazaars. Markets, in turn,
had social and political significance. The population listened to the main news of
the country's life in the markets. In addition to puppet shows, local actors, with a
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special offer, sometimes performed plays that reflected the bright aspects of the
local people's lives themselves. The art of imitation and style of local actors is
noteworthy. [4. 69].
Based on religious beliefs of this period, the images of women in plays
were also played by men. The famous Russian painter V.V. Vereshagin, who
travelled all over Central Asia in connection with the annexation of Central Asia
to Russia in the second half of the 19th century, enthusiastically describes how a
boy disguises himself as a girl at weddings and parties, and then plays in front of
the audience. However, in 1884, the mayor, Colonel Putintsiev, issued order No.
297 for the residents of Tashkent. The following was reflected in this order: "The
Tashkent city judge addressed me in this way. Sharia law strictly prohibits boys
with beautiful faces, dressed in silk, and powdered faces, like women, from going
to shops, markets, teahouses, and from strolling, performing performances. It is
illegal for them to perform the above actions.".[4. 69]. This decision must have
been applied only in the city of Tashkent, as the aforementioned stage plays
continued in many other regions of Turkestan.
In the second half of the 19th century, Uzbek khanates also had a troupe of
artists who served only in the palace. For example, in the last years of the reign
of Khudoyar Khan in the Kokand Khanate, that is, during the conquest of the
Kokand Khanate by the Russian Empire, a remarkable actor named Zokirjon
worked at the khan's palace. In one performance, Zokirjon revealed the
misdeeds of the local sheikh-ulislam through a stage performance. After that, the
khan dismissed Sheikh Ulislam from his post and imprisoned him. Khudoyar
Khan himself loved the actor very much and personally gave orders to organize
the performances. Once, Khudoyar Khan asked Zokirjon to show himself on the
stage. Lekin Zokirjon bu holatdan qo‘rqib o‘zining shaxsiy daxlsizligi to‘g‘risida
xondan yozma ma’lumotnoma berishini iltimos qildi va shu ma’lumotnomani
oldi. Zokirjon xonning asl holatini sahnada yoritib bergandan so‘ng xon undan
darg‘azab bo‘ldi va vadasida turmay aktyorni saroydan haydab yuboradi.
Zokirjonning mol-mulki musodara qilinadi va uning faoliyatiga keskin norozilik
ko‘rsatiladi. U saroyni abadiy tark etishga majbur bo‘ladi. [4. 71]. As we have
already noted, the most developed type of Uzbek oral dramaturgy during this
period is satirical plays. They realistically depict important problems of society,
contradictions of the existing social structure, and relations between classes.
Injustices and oppression in life are sharply exposed. The best aspect of such
performances is the modernity of the theme, the basis of the events depicted on
real facts.
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The first half of the 20th century was the period of the birth of the new
Uzbek national theater in Turkestan by the Jadids. The Jadid progressives, who
saw the salvation of the nation in enlightenment, increasingly felt the unique
importance of theater in the widespread dissemination of their views. In
addition, the funds received from the performances were also needed to provide
the necessary educational materials to the "usuli jadid" schools, which were
suffering from financial difficulties and were being closed in some places. Also in
1909, at the initiative of Munavar Qori, the "Charity Society" organization was
established under the patronage of a wealthy Tashkent resident. The new
members of the society also looked for new ways to earn money, starting with
speaking at the "Gramophone Society" and selling the recordings of several
khafiz and schoolchildren under their care for ten kopecks per record, which
probably earned at least two thousand soums during the year alone. [5. 126].
The new leaders made great efforts to develop theatrical art. Their every
move was constantly monitored by imperial officials. For example, the Tsar's spy
wrote in 1912: Munavvar Qori, who lives in Tashkent, currently has 80 students.
He teaches them in the Tatar style. The teachers of this school stage plays in the
Sart language. [2. 30]. In fact, Munavvar Qori was one of the organizers of the
"Turon" troupe, which began operating in 1913. He participated in all the
troupe's activities, along with his friends Abdulla Avloni, Ilhomjon Inogomov,
Komilbek Norbekov, Tolagan Khojamyorov (Tavallo), Mukhammad
Poshshokhojjayev, Ubaydulla Khojayev, Toshpolat Norbutabekov and others. [5.
127]. In fact, the first theater group of Turkestan Jadids, founded in Tashkent in
1913, was called "Turon". Its artistic director was Abdulla Avloni, its spiritual
and material patron was Munavvarqori Abdurashidkhanov, and other influential
people of Tashkent. The main forces of the group of actors were Nizomiddin
Khojayev,
Badriddin
Alamov,
Shokirjon
Rahimiy,
Muhammadkhon
Poshshokhojyev, Fuzail Jonboyev, Hasanqori, Sameqori Ziyobiyev, Qudratilla
Yunusiy, and from 1916 Mannon Uygur, Gulom Zafariy, and Sulaymon Khojayev.
[7. 58].
The Turon Theater was financially supported by the enlightened wealthy
brothers of Tashkent, Komilbek Norbekov and Karimbek Norbekov. The Turon
troupe rose to the level of a theater group with its own winter and summer
buildings in the old and new parts of Tashkent. [7. 60]. The drama "Padarkush",
written in 1912 and published in 1913, brought Behbudi great fame.[6. 13].
Although the first Uzbek drama "Maxramlar" was chronologically published
about a year earlier in Namangan by Abdulrauf Shahidi, Behbudiy entered
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history as a pioneer in this field. The work was staged by Samarkand amateurs
on January 15, 1914. On February 27, the "Turon" troupe began its activity with
this performance at the famous "Kolizey" in Tashkent. After that, it was staged in
many cities, such as Bukhara, Kokand, Andijan, Namangan, Kattakurgan. The
work had a strong impact on the public, especially on young people who were
entering literature. “Under the influence of the play “Padarkush” published in
1913, I wrote and sent a theater book called “The Unhappy Groom” without even
realizing it,” Abdulla Qodiriy notes in his biography. In 1916, the famous
orientalist academician A.N. Smailovich, who came to Tashkent on another trip,
saw the play “The Dead” based on the work of Jalil Mamadkulizoda by Avloni at
the “Kolizey”. He reviewed all the published Uzbek dramas. He wrote an article
entitled “Sartlarning dramatik adabiyoti”. He reported that “New Literature” had
emerged in Turkestan based on the 7th drama “Padarkush”, Padarkush”, “To‘y”
(Nusratulla Qudratulla), “Baxtsiz kuyov”(A.Qodiriy), “Ahloq”, “Juvonmarg”
(Abdulla Badriy), “Ko‘knori”, “Eski maktab-yangi maktab” (Hoji Muin). [5. 120].
Before the revolution, folk festivals were held in Tashkent's sheep market,
horse market, Shaykhontohur, and other places. In the fall, the festivals in
Zangiata and Tirsakabad on Fridays are very crowded. At such festivals, one
could meet famous singers, instrumentalists, musicians, mekhtars, drummers,
and clowns from Bukhara, Samarkand, Andijan, Margilan, Kokand, and Kuva. [1.
39]. Uzbek national theater art has come such a long way in a difficult period,
namely during the years of the rule of the Russian Empire.
Foydalanilgan adabiyotlar:
1. O'z NA. R - Fund 2660, Inventory 1, File 118, Sheet 39.
2. O'z NA. I– Fund 461, Inventory 1, File 2144, Sheet 30.
3. Umarov M. Estrada va ommaviy tomoshalar tarixi. - Toshkent: Yangi asr
avlodi, 2009.- 182 –b.
4. Остроумовъ Н.В. Сарты. Этнографикеские материалы. – Ташкент: Типо
литография. Ф.п Г. Бр. Каменские, 1896.- 69,71-б.
5. Karimov Sh. Shamsutdinov R. Turkiston rusiyo bosqini davrida. – Andijon:
Meros, 1995. - 125,126-b.
6. Hoji Muin. Tanlangan asarlar. – Toshkent: Ma’naviyat, 2010. ‒ 13-b.
7. Rajabov Q. Turkiston Muxtoriyati tarixi. – Toshkent: Fan, 2023. ‒ 60-b.
