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TRANSFORMATION OF GENRE PAINTING AFTER THE 1990S
Umida Akhmedkhodjayeva
Art historian, art critic.
https://doi.org/10.5281/zenodo.14944279
Аbstract:
The article is devoted to the dramatic transformation of genre painting in the
painting of Uzbekistan during the period of independence, which occurred against the backdrop
of historical and social changes.
Keywords:
Genre painting, social and everyday genre, transformation, plot-thematic,
subjectivism, metaphor, symbolism.
The genre painting, underwent a sharp transformation as a result of the formation of new
artistic and plastic ideas in the context of historical, social and cultural changes that began with
the independence of Uzbekistan in the 1990s. It completely abandoned the spirit of domesticity,
and symbolism, metaphor, philosophical and lyrical-poetic interpretation became widespread.
The characteristics and development of the household genre are characterized by a national
identity that is clearly manifested in works on socio-domestic themes. Russian art critic,
professor and scientist Nonna Aleksandrovna Yakovleva noted that “it is more appropriate to
call the household genre in Soviet painting of the 20th century “social-domestic”. The socio-
domestic context served as a prototype for the creation of new genre associations. She
emphasized that the household genre is closely related to social life and modern social
phenomena. It is appropriate to refer to terms such as “social and everyday genre” and “modern
painting” to show the changes that occur every day, because he emphasized that the everyday
genre fully reflects social and everyday life and the customs of society.
In the 1980s-1990s, “everydayness” in the everyday genre receded into the background,
and plotting took the lead. Artists depicted their everyday life, the events that occurred in it.
Instead of simply recording events in the everyday genre, a lyrical interpretation of life, a
unique concept of existence took precedence. This existence, free from the worries of everyday
life, poetically manifests general laws in specific and individual events. Artists gradually
retreated from traditional motifs and plots and began intensive research in various styles in the
modernist movement. This indicated a renewal of artistic consciousness and thinking. Instead
of realistic thematic paintings, works were created that reflected the various insight forms of
artistic expression of artists based on subjectivism.
In national painting, J. Umarbekov's "Ceremony" (1992), "Fortune-tellers" (1992),
"Cockfight" (1996), "Meshkop" (1995), A. Mirzayev's "Kizil otov" (1990), "Autumn gathering"
(1995), "In the field" (1995), "Women's work" (1997), R. Shodiev's "Feast" (1999), S. Alibekov's
"House on wheels", A. Nikolayev Artists such as “Carousel” (2014), B.Ismoilov “Carousel”
(2011) have shown everyday scenes through individual stylistic searches.
A new stage begins in the work of J.Umarbekov, who has entered adulthood. First of all,
he acquires a sense of freedom and lightness, which opens the way to the most unexpected
searches. As a result, he creates works in which childhood memories, events of the distant past,
legends, various impressions of the bazaars and a colorful series of new images from everyday
scenes easily connect and become the beginning of endless stories. They can be conditionally
combined into series created in parallel throughout the 1990s, as well as in the 2000s, in terms
of pictorial and plastic solutions.
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“The artist J.Umarbekov’s appeal to cubism is not limited to the description of form, but
rather it is necessary to understand the connotations that glorify the philosophy and ideological
content behind the principle of Cubism.” His works such as “Ceremony” (1992), “Fortune
Tellers” (1992), “Cockfight”, “Mother and Child” are united by a decorative character. J.
Umarbekov, while complicating his plastic approaches in these paintings, preserved traces of
the geometric experiments of Cubism behind the complex rhythm of poses and silhouettes.
Although they “achieve” in virtuoso linearity, the general decorative key of the compositions is
manifested in the elegant collage of flat forms, in a kind of fragmentation and “patchwork”. New
techniques and elements of the grotesque in faces and poses create a new artistic language of
play that easily casts aside all norms, everything that needs to be explained. "J.Umarbekov's
unique artistic skills, meticulous processing of the fabric surface, and most importantly, the
ability to transform any motif into a decorative plane - have become the most important
characteristics of the artist".
J.Umarbekov “Fortune tellers” oil on canvas (1992).
Striving to express the “national spirit” in his works, A. Mirzayev carefully studies the
important everyday reality of the people’s life, manifested in traditional Uzbek holidays,
crowded markets, and teahouses. He is close to the image of the unchanging and constantly
renewed world in carpet weaving, embroidery, and pottery ornaments. Inspired by A. Matisse’s
painting, A. Mirzayev showed the daily work of women living in Sokog through expressive
colorful and lively lines in his work “Women’s Work. Soqoq” (1997). The play of lines rich in
inner emotions and movements, elusive moments have become a unique melody. “The artist
does not pay attention to the ratio of colors, placing colors that do not match each other, do not
mix, and creates unnatural situations from their contrasting clash. The plastic solution of
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several contrasting colors gives the structure integrity and harmonizes all parts of the work.
The work, which connects the integrity of the composition, creates a unique landscape with
intersecting lines, vertical and transverse lines, drawings connecting the ground and space. In
the work, every device, every element in nature takes on a holistic appearance.
A.Mirzayev “Women's Work. Soqoq” oil on canvas (1997).
In the painting “Holiday” (1999) by the artist R. Shodiyev, the features of genre realism
and poetic lyricism are combined. He depicted men, women and children sitting in a fast-
moving carriage in a hot afternoon. The relationship between the earth and the sky is expressed
in bright blue and vibrant yellow. But at first glance you do not immediately notice the angel
playing the melody. His figure is directed forward, he flies as if giving hope for the future. The
concept of the work transcends everyday life and has a moral generalization. It glorifies the
artist’s personal experiences: life’s trials, joy, separation, hope, and the idea of trust. “In the
painting “Holiday,” the artist confirms all these hopes with enthusiasm and high notes. The
painting has ethnography and a typical miniature stylization, but there is also a parable, a
grotesque, some kind of folk mythology. "Its uniqueness lies not only in its large and cheerful
colors, but also in the fullness of the human environment revealed to us. For the artist, the
concepts of family, mother, homeland, and the surrounding beauty are invaluable".
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"Holiday" by R.Shodiyev, oil on canvas; (1999).
During the years of independence, freedom of creativity, free and deep research in
painting led to the development of various styles and directions. In Uzbek painting, it is
observed that the household genre in the hierarchy of genres has undergone a sharp
transformation, and the spirit of household life has completely disappeared, and symbolism,
metaphor, philosophical and lyrical-poetic interpretation have become widespread.
Foydalanilgan adabiyotlar/Используемая литература/References:
1.
Яковлева. Н.А. Жанровый анализ // Творчество. – 1978. – № 9.
2.
Ахмедова Н.Р. Неизведанный путь. Очерки о творчестве художников Узбекистана.
– Т.: Санъат, 2015. –122 с.
3.
Эгамбердиев А. Алишер Мирзо. – Т.: Ёш куч журнали компьютер маркази, 1999. –
143 с.
4.
Ҳакимов А.А. Искусство Узбекистана: история и современность. ‒ Ташкент: San’at,
2010. – 504 с.
