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UZBEK NATIONAL ART AND ITS SCHOOLS
Ibadullaeva Zarifa Tajikulovna
Gulistan State University student,
scientific leader Jumaboev Nabi Pardaboevich
Gulistan State University senior lecturer
https://doi.org/10.5281/zenodo.14883960
ARTICLE INFO
ABSTRACT
Qabul qilindi:11-yanvar 2025 yil
Ma’qullandi: 12-yanvar 2025 yil
Nashr qilindi: 17-yanvar 2025 yil
This article tells about the art of embroidery and
its history. Information about the types, methods of
pattern schools and the skillful master naqqqoshs who
created in this field is cited. The art of embroidery, which
has had its own characteristics over the centuries, has
undergone an independent development path, being
renewed in each era and region. The results created by
the Masters are important not only aesthetically, but
also as cultural heritage. The art of embroidery involves
different styles with specific techniques, shapes and
colors. This art form is of great importance in terms of
intercultural exchange and creativism.
KEY WORDS
folk applied art, pattern,
girih, Islami, make-up, decoration,
color gamut, Colorite, composition.
Uzbek folk applied art is an important part of the culture of the Uzbek people and is of great
importance in the formation of artistic aesthetic knowledge. Practical art (embroidery, misery,
candor, serfdom, embroidery) plays an extremely important role in educating young people in
the spirit of artistic perfection and devotion to the motherland, National Art [1]. They serve
not only to develop manual labor, but also to preserve folk traditions and culture. Through
applied art, aesthetic views, creative thinking and feelings of national self-realization are
formed in young people. Thanks to this, they learn to appreciate their history, culture and
Customs. This in turn assumes that the special subjects being taught will be deep and
grounded, and the scientists and artists, the Masters of the HAL’, will determine the highest
tasks. The basis of Uzbek folk applied art is naqqashlik. Ancient historical monuments are
beautiful examples of medieval Oriental architectural art, which with its splendor and
uniqueness of pattern patterns, elegance have gone to the whole world with its grain [2:54].
Naqqashlik, a common form of decorative art, has been developing as a part of humanity since
its early days. The simplest principles of embroidery are Harmony, proportionality to each
other, repetition of methods and elegance of colors. These principles play an important role in
the formation of mainly artistic works. The art of embroidery continues to enrich our culture,
ensuring the beauty and aesthetic expression of each work. It is of great importance not only
in the visual arts, but also in the preservation of national traditions and values.
For many centuries, its artistic traditions have arisen. Naqqashlik traditions have also been
passed down from generation to generation as methods of teaching this type of art. In this, the
service of our folk Masters is incomparable. The best examples of the pattern are
distinguished by the expediency and beauty of the shapes combined through rich creative
fantasy [3:130]. "Pattern" - translated from Arabic means flower, image. There is no exact data
on the emergence of pattern art. The history of the pattern is as ancient as the artistic culture
of mankind. Archaeological materials indicate that the pattern existed in all peoples of the
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world from time immemorial. Metal, ceramic object, vessel, weapons were also decorated
with vegetative patterns in the Paleolithic, Neolithic periods, along with simple geometric
shapes. From the organization of plant, animal, bird, geometric shapes and other elements, a
pattern style is formed. The patterns are divided into vegetative, geometric, symbolic, floral,
girih and other types according to their content and are drawn in this style. While
commonality is prominent in the patterns of various vessels, objects, weapons of labor in
architectural monuments in different regions of Uzbekistan, unique patterns of these places
have formed in Bukhara, Khiva, Fergana, Tashkent and other places. Naqqashlik is passed
down from generation to generation and the teacher-disciple traditions continue. Naqqashlik
schools have been formed, no matter what angle Uzbekistan is. Accordingly, the patterns of
Khorezm, Bukhara, Samarkand, Fergana Valley and Tashkent differ from each other in their
ornaments and finishes. In the middle of the 20th century, the decoration of the naqqqashlik
evolved a long time and harmonized with new methods. Later, since the 90s of the 20th
century, these pencil masters have been creating, United into creative centers and
associations. Ancient monuments were repaired by our great masters, with the participation
of them, our historical monuments in the Oqsaroy settlement, the building of the Supreme
Assembly, the State Museum of Timurid history, the Turkestan concert hall, the buildings of
the canservatory of Uzbekistan and other places were further beautified through them.
Including the most prominent and popular representatives of Uzbekistan M.To ' rayev, a.Ilham
Aliyev, S.Mahmudov, Q.Shoislomov, H.Nuraliyev, S.Shukurov and other Naqqash Masters made
outstanding contributions to this craft. Tashkent naqqashlik art school differs significantly
from the pattern styles of our other regions. The decoration of the Tashkent patterns and
their finishing finishes give the work show more splendor. It is important to admit that the
ornaments on our walls are drawn on the ceiling ceilings of our historical buildings and the
templates of the made object, which will frame a person when he sees it, and give a person
peace when he sees it. In naqqashlik, Samarkand, Bukhara, adding to this, Khwarezm and
other regions of our working technology are a good thing. The harmony of warm-cold colors
and paints in them does not leave a person unobtrusive at first glance.
Tashkent patterns are distinguished by their elegance, strict adherence to a clear Colorite, and
vegetative patterns, which are often used. Tashkent patterns are often worked on green
gamma. Oyster, cotton, bofta, Trefoil, dresser, petal flower and complex girih patterns were
also widely used in Islamic patterns. Naqqash Masters Yakubjon Raufov, Olimjon Kasimjonov,
Jalil Hakimov, Toir Toktahojayev, Anwar Ilham, Kamil Karimov, Mahmud Toorayev and others
are the founders of the Tashkent naqqashlik school. Toir Toktakhojayev was able to construct
complex-style pattern comps. Yakubzhan Raufov made excellent compositions, keeping the
traditions of the Tajik School of embroidery. He contributed to the development of the
Tashkent naqqashlik school [4:163]. The teacher of many disciples is the people's artist of
Uzbekistan Jalil Hakimov. He is the master's contribution to the restoration of the patterns of
our ancestors, which have long been worked out.
Khiva pattern art is quite different from Bukhara, Tashkent, Samarkand and Fergana patterns.
Mainly green and rusty colors are widely used in Khiva patterns. The composition of the wet
pattern is formed from a twig, margilon, shkiftal, peas, flower, leaf and a simple engraving.
These patterns are usually based on madohilic motifs. And the wet patterns are made spiral
and small. Among the great naqqqash in Khiva, talented artists such as Abdulla Boltayev,
Adamboy Yakubov, Eshmurod Sapayev and Rozimat Masharipov are included. Their work has
received much public attention.
Bukhara patterns are distinguished by the complexity and attractiveness of their composites.
In Bukhara patterns, girihs can be used in a clear and meticulous size, and petals, petals, fruits
of plant-like patterns stand out. And Samarkand patterns look like Tashkent, Fergana patterns.
Samarkand pattern multi-flowered vitality differs from other patterns in the extreme mobility
of leaves and flowers. Samarkand patterns are worked on the gamut of the first rusty, and
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later green colors. Among the Masters who founded the Samarkand naqqoshlik School of art,
such as master Rahmanqul, master Jamoliddin, master Abduzohid, master Sharif, master
Alimjan, and master Boqi later contributed to the formation of the Samarkand naqqqoshlik
school. The roots of the art of embroidery go back to our very ancient past. Man has been
perfecting and decorating the goods he needs. From simple items of fasting, clothes, books,
building decorations everyone is still using the elements of the pattern. During the previous
khanates, masters of folk applied art gathered in cities such as Khiva, Kokand, Bukhara,
Samarkand. The multitasking Masters Fergana and Buhoro naqqqosh came to Samarkand and
the Qocan and Marghilan Masters came to Tashkent, where they repaired and decorated most
of the buildings. Nowadays, the art of embroidery has not only performed decorative tasks,
but at the same time began to express the ideological and philosophical concepts of people.
Our hand flower teachers have long drawn pattern compasses in large Hajim, arranged in the
middle sections of the walls. As the Times passed, the traditions of the master disciple still
pass. With the lessons learned from the teachers, our younger generations are creating their
own works of patterns and introducing them to the world. President Shavkat Mirziyoyev
visited the Fergana region on February 4, 2021, in order to be closely transported in places
with socio-economic reforms, creative work. During the visit, Rishton visited the pottery
school and became acquainted with the work of master-craftsmen. The conditions created
were discussed as well as the problems that existed in the system. Especially in order to
continue the traditions of the teacher-disciple, as well as to demonstrate our elegant art to
foreign tourists, the relevant officials were given assignments. As we know, it is a noble and
responsible work to preserve and bring to the future generation our national applied art,
which was left to us by our ancestors. From a very long time, the types of Applied Arts have
developed differently in different oases of our country. The exchange of cultures, the
establishment of trade through the caravan route, led to the harmonious harmonization of the
culture and art of all peoples. As a result, individual methods and styles of each Oasis began to
appear. This led to the emergence of Art Forms [5:184]. Teacher-disciple relations have been
formed over the centuries and enriched with local traditions and Customs [6:125]. Teachers
teach their students not only practical skills, but also mature and spiritual values. This plays
an important role in the personal development of the disciples. As a result, in applied art,
teacher-disciple relations are important in the preservation and development of human
culture [6:136]. With this, they show that the elegance and bemisl of our national art are of
great aesthetic value. Schools and colleges of Applied Arts have been opened in each of our
provinces. The goal is to introduce the future generation more closely to our national art. No
external force, idea or ideology can truly influence a generation who possesses spiritual
exaltation, modern science, has a rich spiritual heritage of our ancestors. The prospect of a
people who have brought up such a generation is bright, the future is great.
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