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SCIENTIFIC AND THEORETICAL FOUNDATIONS FOR DEVELOPING A SENSE OF
NATIONAL PRIDE IN FUTURE ART TEACHERS THROUGH THE STUDY OF THE
WORKS OF EASTERN THINKERS
Xaitov Zufar Asroralievich
Termez State Pedagogical Institute, Uzbekistan
Teacher
Email: xaitovzufar679@mail.ru | Phone: +998 33 272 74 94
Mamadaminov G'anisher Shavkatjon ugli
Termez State Pedagogical Institute
3rd-year student
Phone: +998 93 747 31 07
Xudoyberdiyeva Marjona Shuxratovna
Termez State Pedagogical Institute
3rd-year student
Phone: +998 88 242 30 04
Abstract:
The study of the intellectual heritage left by our ancestors and the analysis of
historical portraits created by artists play a crucial role in shaping a sense of national pride
among future art teachers.
Keywords:
Miniature, composition, shading, holistic perception
In the system of teaching fine arts, the study of the works
of Eastern thinkers provides favorable pedagogical
conditions for fostering a sense of national pride in future art
teachers.
In 2023, the President of the Republic of Uzbekistan
declared the year as the “Year of Attention to People and
Quality Education.” In his speech, the President emphasized
the wisdom of Imam Maturidi:
“Live in harmony with your
people, so that the nation will always stand with you.”
The
lives and works of Eastern thinkers have historically
reflected their deep connection with the concerns of their
people, as evidenced by historical sources.
Beyond textual historical sources, studying the external
appearance of our ancestors through fine arts lessons helps
young generations develop national pride, a sense of honor,
and love for their homeland. This aspect leads us to focus on
the portrait genre in fine arts.
The artistic analysis of portrait paintings serves as a
foundation for instilling national pride in students.
Examining the depictions of historical figures such as
Alisher Navoi, Zahiriddin Muhammad Babur, and Amir Temur allows students to connect with
their cultural heritage and cultivate a sense of admiration for their ancestors.
For instance, Abdulhaq Abdullayev’s portrait of Alisher Navoi, created in 1981, not only
holds aesthetic value but also reveals the great poet’s spiritual world. Similarly, Akmal
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Nuriddinov’s portrait of Mirzo Babur vividly captures the
deep emotions and contemplations of the ruler, reflecting his
struggles and philosophical reflections.
By integrating historical and artistic analyses into the
curriculum, students can develop a deeper appreciation for
their national identity and cultural heritage, ultimately
strengthening their sense of national pride.
A. Nuriddinov. “Bobur Mirzo” (1996).
In another
portrait of Mirzo Bobur, he is depicted holding a pomegranate
in one hand while gazing downward at his palms. His entire
posture and expression exude deep contemplation. He is once
again portrayed beside the throne, emphasizing his
introspective nature.The colors in the painting are both light
and complex, executed in a manner characteristic of the
artist’s unique style. Observing these works, one cannot help
but reflect on the profound emotions they convey. Similarly,
certain portraits dedicated to the Timurids evoke the same depth of expression and artistic intent.
It is difficult to fully grasp the essence of an artwork with just a single glance. Viewing,
analyzing, and revisiting works of visual art multiple times is necessary to uncover the ideas that
the artists have embedded within them. A critical approach to the nation's visual heritage is not
merely about directly analyzing the past but rather about rediscovering the creative traditions of
Central Asian visual art through its unique national
characteristics.
A. Nuriddinov. “Bobur Mirzo” (1996).
In 1996, an
exhibition dedicated to the ruler Amir Temur and the
Timurids was showcased at the “Xamar” Central
Exhibition Hall in Tashkent. The skilled artist Javlon
Umarbekov presented oval-framed portraits of Amir
Temur and Mirzo Bobur, executed in a refined stylistic
manner. Though somewhat symbolic, the portraits were
beautifully crafted.
Amir Temur’s portrait is depicted from the waist up.
The ruler is seated under a lavishly adorned canopy
with intricate drapery. His intense gaze and firm
expression reveal a mind engaged in deep thought,
exuding determination and bravery. The composition is
compact, yet its mysterious aura and well-balanced
form are evident.
As in many of the artist’s works, every element in the painting is thoughtfully resolved. The
portrait not only conveys the physical strength of the commander but also reflects his clarity of
thought. Amir Temur is depicted wearing regal attire adorned with precious stones. Over his
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shoulders, he wears a luxurious cloak trimmed with black beaver fur, fastened with a clasp made
of precious metals.
J. Umarbekov. "Portrait of Mirzo Babur". 1996.
The portrait of Zahiriddin Muhammad
Babur Mirzo (1483-1530) belongs to the series of Timurid portraits and was created by artist
Aziza Mamatova. Babur Mirzo, the great-grandson of Amir Temur, was born in 1483 in the
village of Akhsi in the Fergana Valley, where his father, Umar Shaykh Mirzo, a grandson of
Miron Shah, ruled.
This portrait provides an emotional and artistic depiction of the difficult and complex life of
the king, commander, and poet. During his childhood, Mirzo Babur lost his father and was raised
by his mother, Nigorakhonim, and his sister, Khonzoda Begim, both of whom were highly
educated women of their time. Babur Mirzo himself became one of the most prominent scholars
of his era.
In the portrait, he is depicted sitting in a garden at midnight. His right hand rests on the armrest
of a bench, his slender yet strong fingers holding a pen, while his left hand holds a white sheet of
paper. Babur Mirzo gazes into the distance. The colors in the portrait are chosen with great taste:
against the dark silver-gray sky, his three-quarter view face appears thoughtful, reflecting his
humanity and inspiration.
A. Mamatova. "Portrait of Mirzo Babur". 1999
No one can escape fate,
Struggle, endurance, and sighs are of no help. Overcome suffering with joy, the world is not
mourning: A moment of pain is not worth grieving over! Babur Mirzo wears a red robe with
small white floral patterns, over which he dons a short-sleeved golden vest lined with the fur of a
mountain tiger. The golden fabric of the vest is richly embroidered with silk threads in various
colors, depicting figures of deer in different shapes. This ornate garment adds grandeur to the
image of the ruler-poet.
On his head, Babur Mirzo wears a light green turban made of fine silk fabric, decorated with
thin golden stripes. A peacock feather, secured by a faceted ruby, is elegantly placed in the
turban. The ruler, poet, and philosopher appears to be reminiscing about his homeland, which he
was forced to leave behind.
Above him, the silver-blue night sky is illuminated by the moon, casting its glow on the soft
pink blossoms of a young peach tree. Sitting on a bench beneath the tree, Babur Mirzo is
surrounded by an atmosphere that seems to carry the gentle melodies of a distant tune.
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