ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 9 / UIF:8.2 / MODERNSCIENCE.UZ
33
FINE ARTS OF UZBEKISTAN IN THE SECOND HALF
OF THE XX CENTURY
Mavlonov Farrux Nuriddinovich
Teacher of National institute of Fine Arts and Design
named after Kamoliddin Bekhzod
https://doi.org/10.5281/zenodo.8336881
Abstract.
The article describes the national, national and universal problems of
development in the fine arts of Uzbekistan in the second half of the twentieth century.
Key words:
Uzbekistan, fine arts, national, biennale, trends, exhibitions, nationwide,
universal, problems, developments.
ИЗОБРАЗИТЕЛЬНОЕ ИСКУССТВО УЗБЕКИСТАНА ВО ВТОРОЙ
ПОЛОВИНЕ XX ВЕКА
Аннотация.
В статье описываются национальные, общенациональные и
общечеловеческие проблемы развития изобразительного искусства Узбекистана во
второй половине ХХ века.
Ключевые слова:
Узбекистан, изобразительное искусство, национальный,
биеннале, тенденции, выставки, общенациональные, универсальные, проблемы, события.
It is known that, according to the history of origin, visual art of Uzbekistan (especially
visual art, majestic, easel painting, theater scenography, graphics, sculpture) is much younger than
a number of European visual arts, in terms of their development path. It should be noted that the
stages of development of this young art history were observed in a number of European countries,
and at the higher stages of these arts, great, master creators, new trends, and new currents emerged.
For example, the renaissance period in Italy, its great masters Leonardo da Vinci, Raphael Santi,
Michelangelo, Titian, Caravaggio, Bernini and the ideas of humanism of that time, baroque,
realism and its influence in countries such as Florence, Flanders, Holland, Spain and France,
Rubens, Rembrandt , Velazquez, Goya, Delacroix K. Monet, E. Manet, P. Cézanne, Van Gegitiss,
P. Picasso, R. It is enough to cite the founders of modern styles, movements and directions such
as Guttuso, Rococo, Classicism, Romanticism, Impressionism, Modernism.
Also, as a result of the development of Russian fine art, which developed mainly in Russia
from the time of Great Peter to the 18th-19th-20th centuries, the following great artists emerged
and spread the names of Russian romanticism, classicism, Russian realism, and Russian
academicism to the world: Rokotov, Borovikovsky, Kiprensky, Tropinin, Venetsianov, Bryulov,
Ivanov. , Kramskoi, Ge, Surikov, Perov, Repin, Serov, Savrasov, Levitan, Shishkin, Vasnetsov
Next, the artists of the Soviet era, such as Petrov Vodkin, Yuoon, Deineka, Gerasimov,
Konchalovsky, Saryan, Plastov, from the early period of the former Soviet regime, showed their
unique creations for that time. If you pay attention to the development of such art, it becomes clear
that it was caused by the influence of historical socio-political changes in different regions of the
world.
If you look at the history, you can see the flourishing and developed periods of art and
culture of Uzbekistan from ancient times to the present day. For example: the architectural
monuments of ancient cities such as Samarkand, Bukhara, Khiva, Termiz, and their amazing
carvings, the remains of ancient cities found in Kholchayan, Tuproqkala, Bolaliktepa, Varakhsha,
Afrasiyob, Dalvarzintepa, Kampirtepa and the wall paintings and sculptures in them means the
fact that our ancestors were artists.
The fact that visual art has been widely developed and developed in the territory of
Uzbekistan since ancient times has been confirmed in scientific sources. For example: Naim
Norkulov in his article entitled "Ancient images" makes the following points: "The visual art of
the Uzbek people is very ancient, and its origins date back to the primitive period. A lot of images
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 9 / UIF:8.2 / MODERNSCIENCE.UZ
34
carved on stone using different colors were found in the south of our republic, in Zarautsoy, on the
Kukhitang mountain. Art critics compared this place to a great art palace.
In this article, the author writes the following valuable points, "Mountain images and
monuments of the primitive period were found again in Ilonsoy and Aksoy near Samarkand. It was
found in Khojakent near Tashkent, Suvratsoy in Ferghana, Sarmishsoy in the Nurota mountains in
Navoi region and other places. It is correct to say that these fine art monuments carved on stones
are an expression of the life, occupation and outlook of the people of that time.
Painting, patterning, pottery, calligraphy, and jewelry indicate that our ancestors had very
ancient crafts. Decorated and beautifully illustrated books, copied with high taste and artistic
sophistication, have been cherished in every home since ancient times. Ancient palaces, palaces
and palaces were decorated with pictures and patterns. All this is known thanks to archeological
finds and researches of our art science.
“The tsar's government considered the people of Turkestan to be backward, incapable of
cultural life, unworthy of civilization." His policy was based on the humiliation and discrimination
of the local population. Today, it is proven that Central Asia is one of the oldest cultural centers
of the world. But this work is being carried out due to great difficulties and painstaking research.
Because all the architectural monuments, beautiful decorations, their artistic and elegantly copied
books of the peoples of Central Asia were looted by foreign forces. Abu Rayhan Beruni writes:
"... Fatih Alexander of Greece took the scientific treasures of the peoples of Central Asia to his
country. By Alexander and his successors, the beautiful arts, which were the means of life and
pride, were destroyed. Alexander destroyed the magnificent buildings where he burned many
books"
Indeed, in Central Asia, including the ancient and medieval times of Uzbekistan, the
miniature type of fine art experienced its highest renaissance. As a confirmation of this opinion,
art historians - G.A. Pugachenkova and O. Galerkina's book "Miniatures of Central Asia" refuted
such non-scientific opinions and considerations, that is, they refuted the non-scientific opinions
that there was no miniature school in Central Asia in the 14th-15th centuries, and the Samarkand
miniature school established in the 14th-15th centuries and its they confirm on a scientific basis
that the Khirot school was established under the influence of K. Behzod, who is considered the
"Raphael of the East", and that the Khirot miniature school was developed in this city and they
write: "Samarkand was a city famous for the development of science and art in the 14th-15th
centuries. "Khirot miniature school was an integral part of this great center of art and culture."
This opinion was written by Ilyas Nizshchmiddin in the book "Miniature Schools of the East" and
cited in the article "Movarounnahr in the XVI-XVII centuries".
Thus, the visual art of Uzbekistan, which once developed art and culture in certain periods,
began to undergo a period of free renaissance due to the reconstruction of the mid-80s, the policy
of transparency and the independence achieved in the 90s. As a result, positive pluralism began to
expand its scope. Art historian Tilab Makhmudov writes about pluralism in his article "Pluralism
in Art" published in the "Art of Soviet Uzbekistan" magazine. The emergence of individual
inclinations and potentials even within the limits of a certain method and emerging trend, the
irradiation of age-old, vital themes in harmony with the artist's ideal and worldview in each case
is a sign of positive pluralism.
"The problem of creative independence for Uzbek painters is very urgent. Independent
creativity does not mean completely turning away from one's experience in art. Any school is
based on team experience. However, the artist is completely independent not only when he can
use expressive tools masterfully, but also when he knows what to say to people and how to convey
his ideas to them.
In recent years, a trend called "reproduction" has spread among many artists. This interest
is seen in the fact that individual painters repeat or rework their own, subjective, not fully defined
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 9 / UIF:8.2 / MODERNSCIENCE.UZ
35
idea or general style or Western-European painting of a different direction, or the composition of
individual works in the old classical or modern painting, or individual images on their fabrics,
from Europeans, more XII - They show that they have been adopted from the Italians of the 13th
century.
Our especially bright talented painters, resorting to such adaptation, have not yet been able
to achieve this level of organic unity, to place quotations from the works of the classics in
themselves completely and immediately. For example, J. Umarbekov created a result that is large
in size, meaningful and enriched, and has deep meaning. As a result, the images in the painting
"Conscious Humanity" are complex, asking questions and addressing the great man who resembles
the image of the oriental scientist (Abu Ali Ibn Sina), who is heroically resounding, and is limited
to organically wearing a cloak and veil, like the figure of the prophet Jeremiah on the ceiling of
the famous Sistine Chapel in the Vatican by Michelangelo. J. Umarbekov's work "I am a human "
is dedicated to the school created by the great scholar Al Khorazmi from Central Asia, and J.
Umarbekov, who is rich in deep content and philosophical, is also one of the classics. cannot
completely recover from the state before the organic addition. In this work, he creates symbolic
images of meaningful similes, youth, old age, fertility, dishonesty, war and peace, and radiates the
glorification of universal thoughts, backgrounds and philosophical thoughts.
Maksud Tokhtaev easily copies from Salvador Dali. However, this painter is always
independent, and especially because he is free from such copying and generalization, he is strong
in this field.
The limits and possibilities of creative pluralism have expanded. This showed that new
waves are making waves in the visual art of Uzbekistan, that the tendency to enrich the possibilities
of visual media and make it colorful is growing. The strengthening of cultural ties between the
peoples of the world, the formation of a new creative generation, and the richness of the
understanding and imagination of the cultural heritage of the peoples of the East further
strengthens realistic pluralism.
The depth of meaning and intellectual philosophical research in the work of the young
generations of our artists has become stronger. There was a gradual retreat from the understanding
of nationalism as localism. Nationalism was integrated with the expression of the international
idea and the problems of universality and humanity. As a result, the pains and joys experienced by
world fine art began to be reflected in the works of young artists.
"At the same time, J. Umarbekov, B. Jalolov, M. Tukhtaev, D. Roziboev's works attracted
the audience of the All-Union."
In terms of their creative intentions, M. Tokhtaev is close, however, in terms of the object
of the image and the means of expression, it is completely different. M. For Tokhtaev, it is more
typical to express stable and permanent situations rather than a momentary imaginary mood or
event.
In the works of painters who create in the direction of easel painting of Uzbekistan, their
main themes reveal the national and universal character. In this matter B. Jalolov, V. Okhunov, J.
Umarbekov, A. Mirzaev and A. Isaev entered the visual arts of Uzbekistan in the 60s and 70s, and
it was felt that they falsely sought to illuminate the issues of universality and nationality in their
works. Every creative process, especially in the case of state political socio-cultural changes, tends
to have patrons, especially patrons of foreign art. This period was the result of the transition period
from one system to another.
In terms of his creative intentions, M. Tokhtaev is close to these artists, however, the image
object and means of will are completely different from the world. For M. Tokhtaev, it is more
typical to express stable and therapeutic situations rather than a momentary fantastic quality or
event. He likes to depict unreal things, events in real situations or objects that seem real, imaginary
or symbolic images of people. Therefore, the so-called factor of time and space, which evaluates
ISSN:
2181-3906
2023
International scientific journal
«MODERN SCIENCE АND RESEARCH»
VOLUME 2 / ISSUE 9 / UIF:8.2 / MODERNSCIENCE.UZ
36
the past and the future, is in the first place in the works of M. Tokhtaev. Due to the fact that the
subject of these years was not studied on a scientific basis, and a number of artists who created
during this period, trying to illuminate the problems of universality and nationality in their works
with bold new pictorial means, set an example to the artists of the 80s and 90s in this regard. This
is the spiritual that takes place on the wings of a person's imagination, dreams or dreams. They
appear as an indescribable inner breath and breath of reality as a characteristic of S.Alibekov's
works. The common feature of the creative principles of M. Tokhtaev and S. Alibekov is that they
have a strong surrealistic view of reality. In all their works (whether a person is depicted or not)
there is a reference to a person and his perception of the world. This reference is hidden in the
layers of symbolic pictures and associative images.
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Норқулов Н. Шарқ миниатюра мактаби. “Қадимий тасвирлар”. 29-бет.
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Низомиддинов И. ХII-ХVII асрлар Шарқ маваноунахр миниатюра мактаби. 35-бет.
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