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63ART IN UZBEKISTAN Barotova M.B.1, Mirzaeva M.2
1Barotova Mubashira Barotovna - Teacher of English language;
2Mirzaeva Mokhinur - Student, DEPARTMENT OF FOREIGN LANGUAGES, BUKHARA ENGINEERING-TECHNOLOGICAL INSTITUTE, BUKHARA, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the development of miniature paintings, subtle ornamental decoration, sculpture and refine calligraphy in Uzbekistan in different periods and regions of the country. Mostly, the difference and similarity in the structure of these arts is learnt in the article. Keywords: miniature, paintings, subtle, ornamental, decoration, sculpture.
Uzbekistan, located in the ancient cradle between the Amu-Darya and the Syr-Darya, is unquestionably the most fascinating of the Central Asian republics. Within its borders are some of the oldest towns in the world, some of the Great Silk Route's main centers of the trade and most of the region's architectural attractions. Samarkand capital of the cultural empire of the Timurids, Bukhara and Khiva, virtual outdoor museums.
Having a hoary past Uzbek nation processes a great riches heritage from its ancestors. One of them is its national art, especially decorative applied art. This art was the main form of imitative art for many centuries. It was already closely linked with the everyday life of the people, expressed their thoughts and aspirations, and reflectedthe wisdom, intellect and inexhaustible fantasy of the people. Fine miniature paintings, subtle ornamental decoration, sculpture and refine calligraphy make up the rich artistic heritage of our national culture.
MINIATURE PAINTING
The art of miniature painting is an ancient art of the people of the Arabic East, Iran and Central Asia. The pages of ancient manuscript were decorated with miniatures. The miniature came to life as a way of illustrating compositions and manuscripts. Miniature painting achieved its golden age in the Middle Age, in the XIth and XVIIth centuries. Treatises on medicine, botany, astronomy and mathematics were decorated with miniature paintings. The main objects of miniature paintings were books devoted to historical chronicles, compositions, works "Shakhnameh" by Firdousy, "Khamsa" consisting of five poems by Nizami: "Treasure-House of Mystery", "Khosrav and Shirin", "Laili and Madjnun", "The History of Bakhram Gurr" and "Iskandar-Namah". Many miniature were created for the works "Bustan" and "Gulistan" by Saadi, "Divan" by Khafiz, "Yusuf and Zulaykha" and "Golden Chain" by Djami, and "Khamsa" by Dehlavi and Alisher Navai. In historical chronicles general history was often illustrated: Djami at Tavarikh" by Rashid ad-Din, "Zafarnameh" by Sharifad-Din Ali Yazdi. In these works, Timur's conquests were described. "The history of Prophets and Czars" by Tabariis also illustrated. In the East, the book was treated with greatrespect. The original was considered to be sacred; that is whythe manuscript was carefully kept and decorated. The manuscriptwas prepared in a special work-shop, a kitab-khana, situated in the palaces of sultans and nobles. Paper makers, leather engravers, calligraphers, miniature-painters, ornamentalists and bookbinderswere employed in the preparation of books.Calligraphers were highly appreciated as a print needed to be distinct and irreproachable.
One of the great painters of the Middle Age is Kamalitdin Bekhzod (1455-1535) [1]. There is an opinion that Bekhzod studied in Tebriz, under the master Pirsaid-Akhmad, whose teacher was the Bukharan master Djakhangir. Thefamous art critic of Uzbekistan academician G.Pugachenkova says that "The creative work and the activity of Kamalitdin Bekhzod were the summit of the achievement of the MiddleAge miniature of the XVth century ..." Bekhzod's most creative period took place in Herat, the Timurid capital Khorasan. At the end of the century, Herat became a majorcenter of literature, art and
science. Babur, the Founder of the great Boburid Empire, says that those who lived in this towntried to master the arts and achieve affection in them. Thegreat patron of the arts Sultan Baykara, the ruler of Herat, his vizier, the great Uzbek thinker and poet Alisher Navai; the poet and philosopher Abdurakhman Djami, the great calligrapher Sultan Alimeshkedi and the great Bekhzod brought fame to Herat. The portraits of Sultan Khusain Baykara, Shaibani Khan, many miniature and manuscripts devoted to Zafar-Nameh and many other works of art belong to the brush of Bekhzod. Bukhara and Samarkand school of miniature paintings are also famous. They came out of the cultural heritage of Bukhara and Samarkand andas a result of the creative study of the Herat tradition. There was a free migration of miniature — painters from one countryto another. All this had a wholesome effect on the art of miniature painting, enriching its form and content. In the XVIIIth and XIXth centuries the art of miniature painting slowly died out. Currently miniature painting is being revived and people's interest for this art form is growing [2].
DECORATIVE NEEDLE - WORKOF UZBEKISTAN
Decorative needle-work is one of the popular kinds of applied arts in Uzbekistan. The popularity of decorative needle-work is proved by the historical costume and traditions of the Uzbek people. Women's clothes, household articles and embroidered things have always made up the obligatory part of the dowry of the bride. The women were traditionally engaged in this decorative embroidery. The masters embroidered on the cotton fabric and silk with silk thread colored with natural dye, later with chemicals. Graphic artists worked on design and the stencils of their designs passed from generation to generation. When embroidering they used the following kinds of stitches: "basma", embroidering in satin-stitch; "yurma", chain stitch needle-work, "eroki", cross-half cross; "khamduzi" doublesides satin-stitch. The character of designs and ornaments, kind of stitches, the form, the size of embroidered objects differed from each other. In every locality of region there were special peculiarities of embroidery. There are the following kinds of embroidery now: "gulkori", "parpech", "choishab", "suzani", "zardevor" and many other kinds of embroidery styles. "Palyak" is an Arabic word "Falyak". It is a popular Tashkent embroidery, which is hung on the wall. The main design of "Faylak" is called six-moon, nine-moon and twelve-moon. "Gulkurpa" (word for word translation is flowerblanket) is popular in Tashkent. Until the XXth century, gulkurpa was covered for the blanket of the young couple, butnow it is used as a decorative wall embroidery. The Bukhara "suzani" is also beautiful. The composition ofembroidery is wide: embroidered meadows, gardens ornaments, designs [3].
The delicate taste of the embroideries is observed inproduced scull-caps. Boysun, Shakhrisabz, Marghilan and Chustscull-caps are popular and famous with their rich decorativetrim. Especially Chust scull-caps are valued. There were fourwhite figured elements sewn. These figures are "kalampur" (pepper) and "bodom" (almond) which are embroidered on theblack fabric. Shakhrisabz and Kitab's carpet-like embroidered scull-cap are called "Eroki". Bukhara scull-caps are alsofamous. Skilful embroiders decorate various objects of household: tobacco-pouch, knapsack for tea, stamp, comb, knifes "kordu-band", patterned braid called "jiyak" and many others. The patterned variety of decorative embroidery in Uzbekistan is delightful with its harmony. The national art on this land displays a great wealth of creativity.
References
1. Alimova M., Nasirova F., Saifullaeva M. The Revival of Ancient Applied Art in
Uzbekistan, especially in Bukhara. Bukhara, 1996.
2. National art of Uzbekistan. Tashkent // publishing house named after Gafur Gulyam, 1987.
3. Bobokhonova L.T., Bekturganova C.D. Uzbekistan and Uzbeks. Tashkent.Uzbekistan,
1996.
