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Shakhlo Barnaeva, art critic, senior lecturer of the Samarkand Institute of
Architecture and Civil Engineering. Uzbekistan
CREATIVITY OF PAVL PETROVICH BENKOV AS DURATION OF
UZBEKISTAN'S PAINTING
Sh. Barnaeva
Abstract: In this article, the author analyzes the compositions of the
outstanding artist and teacher of Uzbekistan, the first half of the 20th
century, Pavel Petrovich Benkov. A brief historical and historiographical
review examines his life path and the trajectory of his work in the 1920s and
1930s. XX century.
Key words: art, painting, composition, painting, Bukhara, Khiva,
Samarkand.
Pavel Petrovich Benkov is one of the brightest personalities in the art of
Uzbekistan. He was called the "priest" of art. Benkov moved to Uzbekistan
when he was already 50 years old, a well-established and well-known artist,
experienced teacher, and connected his rest of his life with this land.
In the life of every person,
especially in a creative person, there
are changes that push him to make
inexplicable decisions. In 1928, P.
Benkov first visited Uzbekistan,
visited Bukhara. In 1929, he again
came to Bukhara, 1930 went to Khiva,
and then to Samarkand. In 1931 P.
Benkov moved to Samarkand and
forever connected his life with this
city in which he was in love and whom
he so poetically glorified in his works. [1] He found his second homeland in
Uzbekistan, fell in love with him unforgettablely, “Bukhara. Teahouse
"(1929) found in him that which impressed the soul of the artist. He writes
noisy bazaars with a motley crowd, ancient madrassas and mosques,
crowded teahouses, quiet streets with adobe houses and low duvalls (adobe
walls, fences), green courtyards twined with vineyards, shimmering in all
shades of a rainbow hawza with life-giving moisture. The artist looks
into the courtyards, wanders through the narrow streets unprotected
from the scorching sun, sits for hours in the bazaars
, watching the busy
buyers and sellers in bright national clothes. Benkov brought two or three
works to Samarkand, including “Portrait of the Tatarka” [2], which he
captured to convince Uzbek girls and women to opportunities to pose for
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the artist. From this moment in the biography and in the creative activity of
the artist begins a new page drawn, as bright, and saturated with colors as
the sun and the nature of this region. He begins to productively and actively
transfer his impressions to the canvas, fixing different moments, of one point
at different times, as the great French impressionists once did. So canvases
“Khavuz with water-carriers” and (1929 “Vegetable market. Khiva ”(1930).
“Vegetable Bazaar. Khiva "(1930)
It is noticeable in them, the
artist’s great passion for the
sunshine of colors of autumn and
summer Uzbekistan. If the
“Vegetable Bazaar in Khiva” is
essentially a large sketch made
from nature, then the Bukhara
“House with water-carriers” is a
thoughtful pictorial composition
in which the artist found a
successful point of view, which allowed him to reveal the character and
individual characteristics with great artistic capacity picturesque frame of
the Bukhara landscape.
Since ancient times, Bukhara was famous for its bazaars, the paint of
which could not fail to impress the artist’s imagination. Traditionally, trade
was concentrated on special shopping streets, the intersection of which was
blocked by domes. Built back in the 16th century, some of these domes have
survived to this day, trading benches are still located under them. In his
work P. Benkov repeatedly addressed the theme of Bukhara bazaars, finding
unexpected angles and motives, emdiving the special spirit of this world.
In the painting “Covered Bazaar in Bukhara” (1929) [3] the cool twilight
under the arch of the shopping dome is cut by the perspective of the arches
of the street, leading the viewer away on a bright sunny day.
The medieval architecture of the dome, emphasized by the brickwork of
the sails, and figures in variegated national clothes are complemented by
signs of a new time - red banners hung all over the walls.
In Uzbekistan, the artist’s pictorial style has changed significantly. He
writes widely, freely, picturesque decisions become bold, colorfully richer,
and richer. He painted on casein-pulling soil, in which the colorful surface
did not give shine.
P. Benkov responds to changes in art in the 30s with works on historical,
revolutionary and production topics, creates large-scale thematic paintings
“March 8 on the Registan” (1933), “Meeting of the Hero” (1938) and
“Proclamation of the Uzbek SSR” (1940). In them, the impressionist method
of the artist suffers certain changes, but does not disappear at all.
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The topics of agricultural and productive growth in Uzbekistan are
devoted to the genre paintings of P. Benkov “Silk-winding factory
Khudzhum” (1931-1932),“ May Day Dam. Rawatstroy” (1934), “Treasured
harvest (Cotton picking in Uzbekistan)” (1934-1935) and “Butt of cotton
(Hobbing of cotton in Uzbekistan)” (1936). They reflect the artist’s attitude
to the social life of Uzbekistan, the work of the people is praised; the colorful
nature of the rich land is poetically recreated through the impressionistic
talent of P. Benkov.
“Hero's Meeting” is another monumental painting by P. Benkov, with a
multi-figure composition. The artist worked on it for a long time, but for
unknown reasons, could not finish it to the end. The work, frozen at the
sketch stage, received the first prize at the republican competition of
sketches of thematic compositions. It exudes the spirit of a national holiday,
arranged in honor of a hero whose personality is not shown by the artist.
Despite the shortcomings noted by some researchers in the
compositional solution of the painting by P. Benkov “Silk-winding Factory
Khudzhum” [4] it is easy to read due to the free, impressionistic manner of
writing of the artist. The picture contains that first impression of
enthusiasm, comparable only with a photograph directly taken at the scene.
P. Benkov so skillfully and, it would seem, quite easily transfers a frame from
the working day of the hereditary masters of the Khujum factory in
Samarkand, which produces colored natural silk.
Working directly from nature, without a preliminary detailed sketch,
the artist managed to achieve a balance in the black-and-white decision of
the factory premises and a harmonious alternation of red, blue, yellow
colors in the writing of the clothes of workers and silk produced at the
factory.
The picture of P. Benkov “May Day Dam. Rawatstroy.” But,
contemplating the endless expanses flooded by the sun, listening to the
rapidly flowing river, you later notice a dam blocking the flow of water,
people in the foreground, and among them a farmer, showing an irrigation
structure far away from admiration for a woman. The richness of cadmium
in the picture accompanies white, the sonority of the ultramarine is
enhanced by cobalt. The soft, almost sketchy modeling of the figures, as well
as the blurry oasis, the horizon does not detract from the epic mood of the
picture.
The paintings of P. Benkov “Treasured Harvest (Cotton Harvesting in
Uzbekistan)” and “Okulka Cotton (Hubbing Cotton in Uzbekistan)” are made
in a very close interpretation of the theme of work on cotton fields and are
written in more detail and detail. They are united by the quantitative ratio
of figures in the foreground and background, successfully found poses and
tilt of collective farmers, a life-affirming smile on the faces of the depicted,
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as well as the brightness of the overall coloristic sound. Merging in harmony
with nature, workers are illuminated by the sunlight of a clear day, and their
movements are full of optimism and love of life.
Like many artists at that time, P. Benkov wrote mainly on topics that are
socially in demand, but despite a certain pressure from the ideology of that
time, the artist was able to maintain the impressionistic approach to the
painting, characteristic of his work, although he could not avoid attacks from
criticism, often accusing him of etudes and incompleteness. It is worth
recalling that the sketchy nature of the transfer of nature, so necessary to
convey a fresh impression, was widely popular among the impressionists,
but did not find approval from the artists of socialist realism.
Reference:
1. Н. Ахмедова. Живопись центральной Азии XX века: Традиции,
самобытность, диалог. .:Т 2004. С,45
2. П.П.Беньков. Воспоминания. Переписка. Т.: Издательство
литературы и искусства имени Гафура Гуляма, 1981. С,7
3. Беньков Павел Петрович 1879-1949. Государственный музей
Востока. М.:2009. С, 30
4. В. Чепелев. Искусство Советского Узбекистана. Л., 1935. С 125
Sitora Primova PhD researcher at university, World Economy and
Diplomacy
«IMPACT OF THE CORONAVIRUS PANDEMIC ON THE TRANSPORT AND
TRANSIT ECONOMY OF THE REPUBLIC OF UZBEKISTAN: MEASURES TAKEN
AND NEW OPPORTUNITIES»
S. Primova
Abstract: The article examines the impact of the pandemic on the
transport and transit economy of Uzbekistan, analyzes the problems that
arose as a result of the pandemic and measures taken by the state during the
crisis period. Positive developments in the transit economy were also noted,
such as the activation of the transition to digitalization, the new transport
corridor and the strengthening of integration of the Central Asian countries.
Keywords: coronavirus, transit economy, digitalization, integration,
tariffs, export, transport corridor.
The world health organization (WHO) has declared the new
coronavirus (COVID-19) outbreak a global pandemic [1]. Worldwide,
