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THE ROLE AND DIRECTIONS OF FINE AND APPLIED ARTS IN
BUILDING AN ENLIGHTENED SOCIETY IN NEW UZBEKISTAN
A’zamjonov Axadjon A’zamjonovich
Independent Researcher at Fergana State University
ORCID ID: 0009-0001-3986-1604
https://doi.org/10.5281/zenodo.15151858
Abstract:
The article studies the theoretical foundations of the socio-
philosophical analysis of the place of fine and applied arts in building an
enlightened society in New Uzbekistan, the socio-cognitive potential of fine and
applied arts in building an enlightened society in New Uzbekistan, the future
tasks of developing fine and applied arts in building an enlightened society in
New Uzbekistan. Also, the issues of developing fine and applied arts in building
an enlightened society in New Uzbekistan are analyzed.
Key words:
building an enlightened society, integration, art, socio-spiritual
basis, perspective, fine arts, applied arts, artistic-creative potential, systemic-
functional analysis, theoretical-methodological basis.
Introduction
The "individual style" of great artists varies from one another, and they may
even be in direct contrast to each other in terms of form. Some styles are filled
with metaphors and comparisons, while others prefer direct depiction, and
some are extremely short and concise, while others are characterized by
detailed exposition. However, the expressive and descriptive tools are revealed
depending on the author's artistic idea, how life is reflected, and their way of
thinking. In creating their own style, the artist refines their ideas and seeks ways
to reflect life in a profound way. In realistic art, creating a style means finding
and expressing artistic truth in a unique way.
The artistic style of an artist is aimed at directing the audience, reader, or
listener towards independent thinking and evoking pleasure. When the author's
thoughts are clear and expressed fluently, the style also becomes refined. In this
context, the sense of style plays an important role; it is relevant both to the artist
and the audience enjoying the work. The artist's sense of style is characterized
by their ability to find the artistic form, distinguish the main and secondary
elements, and clearly show good and evil. For the audience, the sense of style
means recognizing the author's persona hidden within the overall structure.
Literature review and methods
The spiritual foundations and social
functions of art, art education, and its moral potentials have been researched by
scholars such as P. Van Hove, D. Kerven, Y. Jack-Dalcroze, L. Daniel, F. Lissek, R.
Munix, D. Karomatli, E. B. Abdullin, B. M. Teplov, A. N. Sokhor, V. G. Mozgot, V. I.
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Petrushin, B. V. Asafiev, V. Beloborodova, T. V. Cherednichenko, S. F.
Gurbanalieva, E. Abdulin, Y. Bodina, N. Ivanov, A. Nizamov, V. Rajnikov, F.
Khalilov, D. Soipova, O. A. Ibrohimov, D. Karimova, R. Khonazarova, S.
Makhmudova, M. S. Mukhitdinova, Z. Oripov, Sh. Omanqulova, Q. Panjiev, R.
Azizov, X. A. To’rakulov, M. Khojdaeva, G. Sharipova, U. Y. Yuldoshev, and others.
Results and discussion
In the era dominated by absolutist regimes, new
relations between the individual and society created a certain social
consciousness. This led to the emergence of a new artistic movement –
Classicism. Classicist artists typically based their work on rational philosophical
principles. Their aesthetic ideals and doctrines defined a special method of
artistic generalization. This artistic direction was characterized by the attempt
to select a particular aspect of human passions and express it as fully and deeply
as possible.
In reflecting reality in terms of problems and contradictions, Enlightenment
art played an important role. This is often referred to as "Enlightenment
realism." Unlike Classicism, this direction did not draw its subjects from ancient
culture but rather from contemporary reality. The focus of this movement was
on the "third estate," the common people's family and civic qualities, which were
placed in contrast to the corrupt morals of the aristocracy.
The Enlightenment artistic style and creative direction aimed at reflecting
the daily realities of life while simultaneously becoming entangled in the
intricacies of these realities, sometimes even diverging from historical subjects.
The Romanticism movement, which followed the place of Classicism and
Enlightenment realism, is a complex and colorful artistic phenomenon that
combines revolutionary and reactionary currents. Despite differences in their
political views, these two currents merge in terms of their partial and general
creative principles.
Romanticism as a creative method emerged after the profound social and
political changes that took place following the French Revolution. The essence of
Romanticism was to reject the harmful and inhuman ideologies created by
bourgeois society and instead establish the dignity of the individual. As a result,
works of art created under the Romanticism movement depicted unique
individual characters. Romanticism was the first movement to focus on the
internal world of a character who had come into irreconcilable conflict with
society. It depicted individuals whose inner experiences were distinctive, and
who trusted only their own strength and listened to the commands of their
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heart. Romanticism dealt a strong blow to the rules of Classicism and paved the
way for the development of Realism.
In the first half of the 19th and 20th centuries, the method of critical realism
in artistic creativity manifested broadly and deeply across nearly all forms of art.
During its development, this method followed a complex and contradictory path.
In this period, aesthetic tools that previous artists could not achieve found new
refinement. An example of this is the works of Rembrandt. Ancient Greek art
reflected only the external physical beauty of humans, and the strength,
weakness, and limitations of this artistic style lay in that. However, Rembrandt
was able to depict the inner world of people, such as poor individuals, beggars,
and old women, without embellishment.
As with any true art, critical realism aimed to reflect life events from the
perspectives of the advanced ideas and aspirations, goodness, and happiness of
its time. However, the major difference from previous artistic movements was
that it did not simply "correct" reality to align with ideals, but instead depicted
reality itself through aesthetic tools.
Critical realism is characterized by its historicity and social features. The
artistic understanding of the individual existed in both Classicism and
Romanticism. However, in critical realism, the individual becomes the main
content of the artwork, expressed through truthful images and the analysis of
events, where the author's true intentions, plans, and aspirations are clearly
visible.
Although the characters created by great artists were born in social
conditions, they act freely. Since realism is directed towards a comprehensive
reflection of reality, it ensures that the images are rich and multi-dimensional,
maintaining artistic and aesthetic integrity while simultaneously exhibiting
unique contradictions and both partial and universal aspects.
The artistic method of critical realism made it possible to depict the
previously unexplored dimensions of reality, reflecting the progressive
democratic movements and aspirations of its time. This form of realism is called
"critical realism" because it begins to reflect reality in a truthful and critical
manner. The representatives of realism depicted the "ugliness of life" ruthlessly
in their works to improve and beautify life. The works of artists such as A.
Qodiriy, M. Sholokhov, Ch. Aytmatov, E. Hemingway, E. Remarque, and G.
Márquez can be explained through the method of critical realism. While the
artistic style of these artists is unique, they are united by a common artistic
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approach that transforms truth into artistic truth, and the spirit of humanism
and progress binds them together.
It is well-known that the realist artistic method also manifested itself in the
form of "socialist realism." Today, this concept is often assessed as a political
tool used to direct the creative process through administrative means, persecute
true talents, and promote shallow "works" that align with the political agenda.
Such ignorant policies caused unprecedented damage to realist art. Therefore,
debates about the method of "socialist realism" now sometimes present
opposing viewpoints. Some art historians consider this concept inappropriate,
asserting that it is a false and politically motivated invention that is entirely
against art, while others describe "socialist realism" as a tool of communist
rulers designed to suppress any form of talent and creativity.
The most reasonable and objective approach is to judge based on artistic
practice. After all, throughout history, any artistic work should not be measured
by terms like "permission" or "socialism," but rather by its ability to depict
reality within the framework of "realistic" representation. The reflection of
reality within the boundaries of artistic truth through aesthetic tools constitutes
the main essence of the realism artistic method.
The principle of truth, established historically, also carries its own
distinguishing characteristics in the method of realistic artistic creativity. If the
artist’s concept contradicts reality, they abandon it according to the standard of
truth and choose the path of reality.
One of the greatest achievements of critical realism was the artistic
understanding of human social life. Social and historical elements refer not only
to the depiction of historical events and individuals but also to how artists,
through their works, reveal the essence of historical processes, representing
these processes at a high level of truthfulness. This is reflected through the
method of realism in artistic creativity. The realistic method and direction of
creativity reveal the artist's aesthetic aspirations in relation to reality.
The aesthetic dream and the reality of life are intertwined in all forms of
realism. Realist artists base their aesthetic dreams on the reality of life, blending
elegance and truth in their work. A realistic creator does not mold their
characters according to their own fantasies and hopes, but rather draws from
reality, reflecting the progressive traditions of the time.
Like other forms of education, aesthetic education focuses on the individual
and social groups. It serves the purpose of establishing universal and national
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values. As such, education aims to influence human consciousness, feelings,
imagination, beliefs, worldview, actions, and behavior.
Aesthetic education, as part of these overarching goals, represents a
historically and socially significant phenomenon. It is important to note that in
ancient times, education was generally based on aesthetic principles. For
example, in ancient Greece, the aim of aesthetic education was the
comprehensive development of citizens and the harmony between "spirit and
div." As philosophers like Plato and Aristotle taught, while there were
differences in aesthetic education systems, there was also a common thread: the
fostering of a unified aesthetic ideal and the development of moral behavior and
civic virtues.
In the Middle Ages, both in the East and Europe, aesthetic education aimed
to instill faith in God as the source of divine power and to impress upon
individuals the transient, insignificant nature of "this world." The emphasis on
the divine and secular aspects of aesthetic education still holds relevance today,
as it has always been intertwined with human labor and daily life.
As societal conflicts diminish and the principles of social equality and
justice gain ground, the necessary social, political, and moral conditions for
aesthetic education also emerge. The expansion of material, economic, and
cultural opportunities, alongside the eradication of poverty and illiteracy, will
allow aesthetic education to become a key factor in societal life.
In our independent development, the importance of aesthetic education is
increasing. First, there is a growing need for the upbringing of a perfect human
being. This task cannot be accomplished without artistic-aesthetic education.
Second, the general cultural level of Uzbekistan's population is rising, and new
techniques, technologies, and methods for improving production are being
implemented. Third, as Uzbekistan's new production relations and market
economy expand, there is a corresponding increase in the level of aesthetic
culture. Fourth, the fields of electronics, automation, cybernetics, and
informatics are creating opportunities to reshape production and life. These
fields require a transformation in the psychological state, professional, social-
psychological, and moral-aesthetic conditions of those involved in production.
Fifth, the widespread use of mass media such as radio, cinema, and especially
television, is facilitating the growth of artistic and aesthetic education in broader
contexts. In the past, aesthetic education was narrowly defined, focusing mainly
on correct perception of art and the enjoyment or knowledge of a specific art
form, as well as developing specific artistic skills. Sometimes it was seen merely
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as the cultivation of high aesthetic taste. All these aspects are part of the main
tasks and goals of artistic-aesthetic education.
Conclusion
: Artistic education is an integral part of aesthetic education,
though it does not fully express the main content and objectives of aesthetic
education. The primary goal of artistic education is to shape social relations
through the means of art. It would be a mistake to equate, mix, or contrast
artistic education with aesthetic education. It is essential to understand that
aesthetic education extends beyond art; its core lies in activating and developing
the human aesthetic relationship with reality. This relationship is characterized
by its specific features, relative independence, and encompasses both practical
and theoretical dimensions. Therefore, any manifestation of human relations to
reality that separates from the aesthetic content loses its true human essence.
An aesthetic relationship encourages individuals to free themselves from a
consumerist view of life and adopt a broader, more comprehensive perspective.
It fosters the ability to recognize virtues that are socially significant for
humanity, development, and society, in people, nature, events, and things.
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