INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 547
PREPARING FUTURE TEACHERS FOR ARTISTIC ANALYSIS OF WORKS OF FINE ART
Saodat Makhkamova Bakhtiyarovna
Associate Professorof the department Tashkent state pedagogical University named after Nizami
e.mail:saodat_mahkamova@mail.ru
Abstract:
Actual questions of Preparing future teachers for artistic analysis of works of fine art
in school activity.The article is aimed at improving knowledge on the subject Composition of
students and teachers in the specialty "Visual Arts and Engineering Graphics". This article
highlights such relevant forms of visual art as drawing and painting. Valuable scientific and
methodological recommendations are given for the organization of lessons in fine art and the
acquisition of skills in performing compositions with works of art by the national artist of
Uzbekistan G. M. Abdurakhmanov
Keywords:
portrait, self-portrait, style, watercolor, composition, aromatics, mastic, palette, color,
genre, harmonica, stained glass, baguette, still life, saturated paint, image, element,
monumentalist, plot, reflex, light, rhythm, shadow artist, shape, light, line, character, abstract,
texture, painting, monumental, bust, static, plastic, vertical and horizontal painting on a bench,
background, relief, contrast, diagonal, graphics, magnificent, decorative, format, dynamics,
landscape.
Ensuring the quality of pedagogical activity, the formation of competence for the analysis
of a work of fine art, namely a future teacher, the development of technologies for implementing
this in the course of the educational process is the most important task in the field of
modernization of the content of pedagogical activity. The Strategy of Actions for the Further
Development of the Republic of Uzbekistan is defined as a priority task of improving the system
of continuing education. Systemic reforms carried out in the country during the years of
independence in the field of culture and art are of particular importance. In particular, a number of
significant works were carried out related to the restoration of the ancient heritage, the study of the
historical traditions of art, as well as the introduction of modern technology. More importantly,
this work is being carried out on the initiative of the President of the Republic of Uzbekistan
Shavkat Mirziyoyev. The head of state, emphasizing the importance of this work, created over
many centuries by our ancestors, noted “The restoration of the priceless spiritual and cultural
heritage created by our ancestors over the course of many centuries has become a very important
task for the state. We must begin recovery by developing the growth of national identity as a
natural process of returning to our roots and the spiritual origins of our great people“.
.
1
«О дополнительных мерах по повышению качества образования в высших образовательных учреждениях и
обеспечению их активного участия в осуществляемых в стране широкомасштабных реформах»
приказ Президента
Республики Узбекистана
от
5
июня
2018
года №ПП
-3775
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 548
Systemic reforms carried out in the country during the years of independence in the field
of culture and art are of particular importance. In particular, a number of significant works were
carried out related to the renewal of the ancient heritage, the study of the historical traditions of
art, as well as the introduction of modern technology. Uzbekistan has become a center for
organizing art exhibitions of our domestic artists and craftsmen, as well as foreign professional
artists and artisans.
In fact, today, a deep study of the art of science and education, as well as the artistic and
aesthetic perception of events around the world based on works of art created by our ancestors
over the centuries, is the basis for the development of cultural, artistic and aesthetic culture
among young people and together with the positive qualities of the younger generation. In this
regard, in art education, improving the content, methods and effectiveness of teaching fine art, in
particular painting, drawing and composition, is one of the most pressing problems of pedagogy.
In such an important matter, we hope and rely on the advice and active assistance of all
our citizens, especially representatives of the older generation, our wise lives and vast experience
of veterans. Thanks to their dedicated work, large industrial complexes were built and
modernized in our country in due time. Their intellectual potential and efforts organized new
industries based on high technology, built unique infrastructure, formed a farmer's movement,
and radically transformed the look of our cities and villages. Thanks to the great love and
devotion to the homeland of such people, the solid foundations of our independent state were
created. Taking this opportunity today, let me express my deep respect and sincere wishes for
longevity, good health, happiness and prosperity to our esteemed veterans for their selfless work
in the name of prosperity of the country. We all know that Uzbekistan has rich Natural
Resources, powerful economic and human potential. But still, our greatest wealth is the
enormous intellectual and spiritual potential of our people. We well know and appreciate the
merits of our intelligentsia - scientists and technicians, especially our esteemed academicians and
professors, representatives of culture, literature, art and sports - in creating and enhancing this
great potential. Comprehensive support for the scientific research and creative activity of these
dedicated people, the creation of the necessary conditions for them should be our first priority.
To this end, the Government will develop and implement specific measures.
The interest of artists in the pressing problems of our time, in the implementation of
traditions, the expansion of the arsenal of means of artistic expression, characterize landscape
painting of Uzbekistan in the 90s. Innovation in the field of shapes and colors, the search for
unique expressive means, original artistic manners during the period of Independence was sharp,
radical. Contemplation and lyricism, which in the process of developing the landscape of
previous eras became one of the priority qualities of the national landscape, did not completely
recede into the background, but were transformed into a symbolic, metaphorically saturated form.
But all the same, in the period under study, the range of landscape genre works is rather narrow,
despite this, many traditions and trends exist and develop in landscape painting. The tendency to
enrich the plot material is combined with the enrichment of the emotionally - figurative language,
pictorial handwriting. In modern art salons and at special exhibitions, lyrical landscapes and
mountain views begin to prevail, the number of chamber landscapes is growing, and artists no
2 Sh. M. Mirziyoyev together we will build a free, democratic and prosperous state of Uzbekistan. Speech at the ceremony of assuming office
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 549
longer turn to industrial themes, and a different note appeared in their work, a note of alarm for
the future of their planet.
As a result of turning to national sources, a figurative-style system of landscape painting
of the 90s took shape, in which the following artistic ideas and trends can be distinguished:
lyrical landscape - an image of local architectural sights, corners of native nature (N. Kuzybaev,
A. Yunusov, A. Mirsagatov , G. Abdurakhmanov, H. Mirzaahmedov, M. Voronov),
philosophical and aesthetic, focused on in-depth and innovative comprehension of the
foundations of ethnocultural heritage (Zh. Usmanov, F. Akhmadaliev, L. Ibragimov, E. Kambina,
H. Ziyakhanov, F. Gamb arova), color-plastic or decorative line (Yu. Chernyshov, R. Akhmedov,
R. Shodiev, J. Umarbekov, A. Mirzaev, Yu. Taldykin, E. Melnikov, Ya. Salpinkidi, G. Baimatov,
V. Burmakin, I. Shin, R. Gagloeva). Inspirational artists use ornamental and coloristic motifs of
traditions. It is characteristic that over time, the division into clear lines between trends becomes
more complicated in landscape painting, as the search for an individual creed prevails and the
genre specificity is not preserved.
The revitalization of artistic life, the organization of major international and national
exhibitions, stimulated artists to search for new interesting paintings. Numerous trips of artists in
the CIS countries and in foreign countries, contributed to the enrichment of the thematic range of
landscape painting.
In the expanding range of searches, contacts with the heritage, attempts to discover
artistic ideas in it, the works of A. Mirzaev and artists of a similar decorative orientation (Yu.
Chernyshov, R. Shodiev, E. Melnikov, Ya. Salpinkidi, V. Burmakin, R. Gagloeva , V. Kim)
characterize important aspects
All this gave rise to bold creative searches, stylistic diversity in the art of Uzbekistan.
Among these artists, actively seeking their own figurative language, was Abdurakhmanov Gafur
Mukhamedzhanovich. He entered the team of artists of Uzbekistan quickly, attracting the
attention of spectators and art lovers with his simple, but immediate landscapes, thematic
canvases.
At the beginning of the career of G. M. Abdurakhmanov, he devoted a lot of his energy to
the landscape genre. His landscapes often appear at republican and union exhibitions. G. M.
Abdurakhmanov is attracted by the snowy mountains of Uzbekistan, its quiet lakes. The wide
pastures and cozy foci of shepherds find their artistic expression in the canvases of the artist, he
writes willingly and industrial motifs. The picture of the artist “Issyk-Kul” painted under the
impression of a trip to Kyrgyzstan attracts silence and special solemnity. The highway, bus
parking in the film “Industrial Landscape” bring modern features to the pristine mountain nature.
The picture of the artist “Pakhtakor. Match ”, which attracted attention with its tenderly lyrical
construction of the artist to convey the state of nature. Among the artist’s landscapes, there are
many works that capture the originality and originality of the nature of Uzbekistan, the Caucasus,
Russia and the Baltic states. They occupy a large place in the exhibition. In most cases, these
works are written soundly, in landscape-genre terms. The second half of the 60s and especially
3
Of the Republic of Uzbekistan at a joint meeting of the chambers of the Supreme Council Tashkent 2016
"Uzbekistan". Article 39.
4
N. Akhmedova
“
Painting of Central Asia of the 20th Century: Traditions, Identity, Dialogue
”
, 2004, p. 132
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 550
the 70s were fruitful for G. Abdurakhmanov. He actively participates in public life, conducts
administrative work at the Republican Art College, where he is appointed director in 1965,
becomes a member of the Union of Artists of Uzbekistan, goes on creative business trips, and
carries out foreign trips, which positively affects his creative activity. During these years, the
artist energetically expands his thematic range, his individual creative manner is increasingly
revealed, there is a further crystallization of his ideological and aesthetic position; he works a lot
on thematic compositions about the creative work of people, writes industrial landscapes, still
lifes. Genre paintings displaying the life and customs of the Uzbek people appear at exhibitions.
The audience’s attention is drawn to his compositions on historical topics, about the heroism of
people.
Paintings "Family", "Wedding" G.M. Abdurakhmanova became landmark. They reflected
the artist’s search for an individual manner, his ideological and aesthetic views. They outline the
search for the creation of an artistic image based on a synthesis of realistic art with techniques
and plastically shaped solutions of national miniature painting. When passions subsided, heated
debate about the acceptability or unacceptability of the tradition of miniature painting and folk
decorative art, we can say that the artist was able to find associative art forms that help him
express the pulse and spirit of Uzbekistan. In the painting "Wedding" the individual manner of
the artist, outlined in previous paintings, was clearly manifested. The traditions of miniature
painting with its high horizon, a lot of plot composition, the rhythm of color spots and planes
begin to intertwine with a realistic form of expression. Thematic paintings of the artist are
characterized by narrative presentation.
He leisurely narrates about the modern way of life of the people, about the Uzbek
wedding in the film “Wedding”, but this does not prevent the artist from conveying his
admiration for the beauty of human communications and contacts. Household details in the
picture - clothes, furniture, a TV, a bus behind the fence - and others characterize the
internationalization of this life, connects it with the modern world. The originality of the artistic
approach to the chosen topic is distinguished by the painting “Girls from Bahmal”, which attracts
with its figurative-plastic solution, the rhythm of color harmony. Several stylized figures of
people of composition, its colorful solution carry a special poetry, hidden spirituality. The
painting “Issyk Kul” is permeated with an alarming but majestic spirit, where the silent airships
in the sky, the desolation of the valley create a feeling of alarm and at the same time hidden inner
power, “Harvest Festival” - a lot of plot composition. In it, an inquisitive viewer has the
opportunity to examine in detail each piece of canvas and discover interesting comic and
humorous life situations.
Of course, in the aforementioned canvases there is a touch of primitivism, in solving
individual images and details one feels toyishness, stylization. But it is precisely in them that the
originality, individual identity of the artist, his figurative-plastic thinking and aesthetic creed are
sharply felt. All these qualities of the artist’s work put him among the interesting artists of
Uzbekistan, who enriches the stylistic diversity of Uzbek art, his picturesque and plastic
language with his work. The artist fruitfully combining painting classes with teaching activities
in the Order of Friendship of Peoples of Nizami Tashkent State Pedagogical University. He is
full of creative ideas, the implementation of which is constantly working, open new aesthetic
sensations and feelings.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 551
Creativity of the artist G. Abdurakhmanov is closely connected with the lyrical line of
Uzbek landscape painting. His best works are characterized by penetrating lyricism, a
concentrated transfer of the state of nature at a certain time of the year and day. He has his own
manner of performance, his favorite themes, his attitude to the surrounding reality and his
understanding of the means to identify this relationship in a landscape sketch or painting. Quiet
streets, deserted surroundings of the city, gardens inspire him. He visits the mountainous region
near Tashkent-Humsana. Travel enriches the artist with new themes and plots. For many years,
these motifs have become central to his works. The artist’s works created in Humsan are mainly
devoted to old-town motifs, environs, valleys and rivers. One of them is “Spring”, which
captures a typical Uzbek courtyard of a mountain city. Gafur Abdurakhmanov lovingly depicts
the beginning of spring with its cool sunny day. Buds bloom, trees bloom. Juicy greens appear.
The picture is closed by Uzbek mountain houses with small and low windows and an open
terrace. The large tree in the middle of the landscape, as it were, holds the whole composition,
giving it a completely landscape character, the artist managed to convey the spring coolness very
clearly and subtly. The harmony of cold and warm tones (cold blue-violet, green tones prevail)
gives the painting a special poetry of color. The viewer seems to feel the freshness of a spring
day, the game of gentle sun rays and the awakening of nature. The theme of winter is one of G.
Abdurakhmanov's favorite topics. he dedicated her many paintings. (Winter Old Town, 1982
Snow fell 1983, winter in Humsan) and a series of sketches and paintings written directly in
Humsan. In its landscapes in front of us there are either noisy streets and bazaars, then quiet
Uzbek courtyards or cozy gardens.
Many artists like P.Konchalovsky, I. Mashkov, R. Falk, K. Petrov - Vodkin, Yu. Pimenov,
N. Kovinina, R. Akhmedov, M. Nabiev, Y. Salpininkidi, G. Abdurakhmanov, were fascinated by
the image of the beautiful world of things. and others created magnificent still lifes, revealing not
only the beauty of things, but also the world of man, his thoughts and feelings. Each artist found
his expressive means to solve this difficult task. Sometimes a person is invisibly present in the
picture, and it seems that he has just left and can return at any moment. Abdurakhmanov’s
painting in its entirety - the landscape, portrait, still life carries a lively, direct sense of
communication with nature. The color in his works is extremely mobile, vividly conveys the
state of nature. All the features of the plein air painting are evident with its variable, complex
overflow of the finest midtones. However, there is something in his art that allows us to talk
about deepening the realistic line in Uzbek painting. This is evidenced by his work: "Still Life
with Watermelons", "National Still Life."
The inspirational beginning of Abdurakhmanov’s creativity has always been nature in all
the richness of its manifestations. The themes of his still lifes are natural forms: flowers, fruits,
vegetables, a samovar, Susana, fish, everything that carries the living breath of life. He writes
them in different settings and each time he discovers a surprisingly whole, optimistic perception
of the world. He has a rare gift to extract from the palette such combinations of color shades with
which he masterfully conveys the beauty and tenderness of fragile colors, complex lighting
conditions. Moreover, the objects shown to them do not lose their material concreteness: drawing,
contour, volume.
In the same he writes "Still Life with a Samovar" - a kind of image-representation,
inspired by the revolutionary transformations in the country. The artist seeks to find aesthetic
value in the objects of industrial society.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 552
In the subsequent development, the still life was significantly replenished with new
themes, interesting stylistic features. In it, he reflects the characteristic features of modern life,
the achievements of science and technology. The desire to more fully express the theme makes
the artist create cycles of paintings.
Still life showed not only the massiveness of the genre, but also the wide coverage of
topics. Without breaking the connection with modern reality, the artist turns to the experience of
the history of art, carefully examines related genres. Another source is the study of folk art, the
study of the experience of previous generations.
The artist refers to still lifes as a means of characterizing the image being created and when
working on a portrait. In the subject-thematic paintings, the still life is of important, but still
subordinate, importance.
In conclusion, based on the above, we can say that the correct formation and improvement
of artistic and creative knowledge, skills and creative skills of students on the basis of the above-
mentioned proposals of the content of the article make it possible to achieve effective results in the
process of implementing a number of tasks in the process of preparing them for the analysis of
works of fine art and topics this will ensure the success of pedagogical competence as a whole.
References:
1. Sh. M. Mirziyoyev together we will build a free, democratic and prosperous state of
Uzbekistan. Speech at the inauguration of the President
2. Of the Republic of Uzbekistan at a joint meeting of the chambers of the Supreme Council
Tashkent 2016 "Uzbekistan". Article 39.
3. N. Akhmedova “Painting of Central Asia of the 20th Century: Traditions, Identity,
Dialogue”, 2004, p. 132
4. Tashkent,.Nurtoev, S.Makhkamova Issues of preparing students for artistic and creative
activity Russia, Kazan Young scientist 2016/7 687 st E-mail:
;
5. 5.Komoldinov S.J., & Abdirasilov S.F. (2023). ON THE INTEGRITY OF
ILLUSTRATION IN PAINTING LESSONS AND ITS RELATIONSHIP WITH
COMPOSITION ACTIVITY. Экономика и социум, (3-2 (106)), 168-171.
6.
6. S. Abdirasilov, & B. B. Kurbanov. (2022). PORTRET JANRIDA ORQALI
TALABALARDA BADIIY OBRAZNI SHAKLLANTIRISH. Proceedings of International
Conference on Scientific Research in Natural and Social Sciences, 1(2), 53–59. Retrieved
from
https://econferenceseries.com/index.php/srnss/article/view/282
5
У
.
Нуртоев
,
С
.
Махкамова Вопросы подготовки учеников к художественно
-
творческой
деятельности Россия
,
Казан Молодой учёный
2016/7 687
ст
E-mail: info@moluch.ru;
http://www.moluch.ru/.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 03,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 553
7.
7.
Baymetov , B. . (2024). WORK WITH GIFTED STUDENTS IN FINE ARTS
CLASSES. Академические исследования в современной науке, 3(48), 148–149.
извлечено от https://inlibrary.uz/index.php/arims/article/view/49597
8.
8. Makhkamоva Saоdat Bakhtiyarоvna (2024). THE FORMATION OF VISUAL ARTS
SKILLS OF SCHOOLCHILDREN IN PERFORMING SKETCH, COMPOSITION AND
CREATIVE WORKS. European Journal of Arts, (1), 63-66.
doi: 10.29013/EJA-24-1-63-66
9.
9.
Jabbarov Rustam Ravshanovich, . (2024). THE STUDY OF TEACHING APPLIED
DECORATIVE ARTS IN HIGHER EDUCATION INSTITUTIONS THROUGH
SOFTWARE
SOLUTIONS:
A
REVIEW
OF
METHODOLOGICAL
LITERATURE. CURRENT RESEARCH JOURNAL OF PEDAGOGICS, 5(10), 106–111.
https://doi.org/10.37547/pedagogics-crjp-05-10-18
10. 10. Nigmatjon Nozimovich Talipov (2024). THE STAGES OF DEVELOPMENT OF THE
ART OF ENGRAVING IN ANCIENT PERIOD AND THE MIDDLE AGES. European
Journal of Arts, (1), 67-71. doi: 10.29013/EJA-24-1-67-71
11.
11.
Talipov Nozim Xamidovich , . (2024). CREATIVE TECHNOLOGIES FOR THE
PROVISION OF ART EDUCATION TO FUTURE TEACHERS OF FINE
ARTS. CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES, 5(01), 39–
45.
https://doi.org/10.37547/philological-crjps-05-01-08
12. 12. D.E.Omonov, ., & G.Yu.Rustamova, . (2025). The Importance of Using Graphic
Programs in The Formation of Visual Arts Skills of General Education School
Students. European International Journal of Pedagogics, 5(01), 63–66. Retrieved from
