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https ://doi.org/10.29013/EJA-21-1-160-163
Fatkhullaev Ravshan, Doctor of Philosophy in Fine Arts, Professor of the Department of History and Theory of Fine Arts of the National Institute of Fine Arts and Design named after K. Bekhzod, Uzbekistan E-mail: 000904@rambler.ru; 30041993@rambler.ru
DIALOGUE OF CULTURES IN THE HISTORY OF ART OF UZBEKISTAN: ISSUES OF CULTURAL ECOLOGY IN ART
Abstract. Uzbekistan - the country with a centuries-old history in which culture traditions of many peoples and times are traced. In the report parallels of art of Uzbekistan with China on a material of the Middle Ages are investigated. As obj ect the following kinds fine and decorative-applied art are chosen: miniature painting in manuscripts, a varnish miniature and jeweler art because of there are especially traced the features of the Chinese art in these kinds of art.
Keywords: Uzbekistan culture, traditions, parallels of art of Uzbekistan with China, decorative-applied art of Uzbekistan, miniature painting of Uzbekistan in manuscripts, varnish miniature of Uzbekistan, jeweler art of Uzbekistan, dialogue of cultures, folk art crafts, history of art in Uzbekistan.
Uzbekistan is the country with a centuries-old etc. These schools in a modern science can be named
history in which culture traditions of many peoples and times are traced. Unfortunately, it is impossible to speak about cultural exchanges of Uzbekistan with neighbouring countries, in particular with China in one article. It is impossible to answer a question when cultural exchanges between two countries have begun because of archeological excavations are conducted today.
But, despite of it, I shall try to make the comparative analysis on some monuments known nowadays in science. On my supervision the features of the Chinese art are found out in some kinds of applied art of Uzbekistan.
I shall start with miniature painting. It is known, that in territory of modern Uzbekistan in Middle Ages there were some centers on manufacturing manuscripts. There were largest libraries in the East at court yard in Samarkand, Bukhara and Shohruhi (suburbs of Tashkent). There worked set of skilful masters of manufacturing manuscripts - calligra-phers, artists, masters of ornament, bookbinders,
"Central Asian".
Basically with miniatures decorated pages of literary compositions. For example, such most popular products as "Shakhname" ofAbulkasim Firdousi (934-1027), "Khamsa" of Nizami Genzhevi (1141-1209), Amir Hosrov Dekhlavi (1253-1325), Alisher Navoi (1441-1501), etc.
It is necessary to note, that in products of the above mentioned authors, in particular, in A. Navoi's compositions, China time is mentioned several times under the term "chin-mochin", as the standard of beauty and perfection. For example, in same product "Khamsa" he mentions several times the legends of Chinese governor, beauty, etc. It is embodied in subjects and stylistics of some miniatures: by subjects of it there possible to see in miniatures as "Courts show to tzar Bakhram a portrait of the Chinese beauty", "Arrival of the Chinese tsarina to Iskander", etc. where plots directly or indirectly are connected to China [1]; on stylistics the Chinese influence are observed first of all in treatment of the
composition, i.e. in sheets the basic plot settles down in the bottom part of a sheet and develops on top as it is typical of the Chinese landscape painting. In the Central Asian miniatures, the plot is very seldom treated in the center of a sheet.
The Chinese features are also felt in transfer of some details. For example, clouds, faces of represented heroes, portraits of historical persons are also treated in the Chinese manner that speaks of itself that artists, in contrast to national masters were familiar with the fine arts of China. The unique samples of Chinese visual and decorative and applied arts came to a court yard of local governors as gift. Then, we know, that Chinese traveller Chzhan Tsjan in the historical past has made trip to Uzbekistan, that also confirms bilaterial communications.
One more prevalent kind of art in Uzbekistan is varnish miniature. It has appeared in 1930 years, and then, with break, at the end of 70th years of XX century; and now is one of bright kinds of decorative and applied arts of Uzbekistan. Miniature caskets, cases, boxes, pumpkins with the image of plots from medieval miniature painting have the big success at judges of this kind of art.
Should note, that the varnish miniature has penetrated into Uzbekistan from Russia though S. K. Shayakubov's master's thesis contains some data on existence in the historical past in territory ofAverage and the Near East art of varnish painting on papier-mache (tosh-qog'oz) [2]. Here the matter is varnish covers of hand-written books. These covers, decorated in style of miniature, were produced not from paper and from papier-mache. They looked as independent thematic composition, and have not been connected to the text of the manuscript.
Similar samples really meet in hand-written storehouses of Uzbekistan, but not so much. Unfortunately, because of fragility of the material, many of them have not reached us in primordial kind. Moreover, to this moment we do not know about manufacturing of similar covers from papier-mache in Maverannahr court masterful. Either they were
exported from neighbouring countries, or prepared exclusively at palace workshops under the order of court yard in small circulations. The majority of cover of manuscripts prepared from a leather.
It is necessary to note other fact, that the varnish miniature of China became a sample not only for the countries of near abroad. In due time it also influenced development of varnish miniature of the countries of the Western Europe. It has penetrated from Europe into Russia since in XVII-XVIII centuries the Russian culture was in close communication with the European culture. At that time there were glorified the Chinese varnishes: the fashion was oriented to the Far East. These samples were exported to Russia from Europe as Russia originally had no diplomatic contacts to China. They were adjusted only in the of XVn century. In 1669 has been signed Russia-Chinese Nerchin agreement. It promoted growth of caravan trade of Russia with China through Kyakhta and Irkutsk. There are simultaneously direct a number of embassies to both parties and there is exchange of gifts. In XVIII century the imperial caravans from Petersburg regularly sent to Peking, whence in exchange for furs, a glass beads, saltpeter, a rhubard, cloth and many other goods carry in plenty the Chinese fabrics (obviously silk -R.F.) and embroideries, tea, silver, products from silver filigree, painted enamels (enamel), varnishes, a bone and a quantity of ceramics [3].
If the varnish miniature has penetrated into Russia from the countries of the Western Europe it has penetrated into Europe from medieval China. Europeans have come into contacts to China a little earlier than Russians. It is known, that in Europe the legislator of a court fashion was France and in Asia such role belonged to China. There was big success of Chinese porcelain, ceramics, glass, expensive fabrics (brocade) in the European countries. There has appeared set of the worn out articles during Chango period (I thousand BC). Found out in burials the painted varnish furniture, varnish utensils, musical instruments, articles of carved tree and stone were
serve to ritual purposes. Easy, shining not afraid of moisture articles have turned out by drawing several layers of the painted juice of varnish tree on wooden, leather or linen basis [4]. Laps of time handicraftsmen have learned to evaporate juice, making it dense and to give to it complementary colors - black or red, - mixing natural pigments from iron or its oxides. Covering ceramic or wooden products, leather, paper and even fabric the similar structure easily penetrating in pores of material, the master achieved not only their consolidation and tightness but also giving of the appearance responsible for aesthetic requirements of that time, etc. The Chinese casket, round form, from collection of the State museum of arts of peoples of the East in Moscow is characteristic in this plan. It made from papier-mache, but the cover of casket reminds woodcarving (Peking. XVII century. Carving, red varnish. Inv. № 24941, height - 22 cm, diameter - 29 cm).
One more reason of distribution of the Chinese varnish products in neighbouring countries consists that in Middle Ages sovereigns had diplomatic contacts to the countries of near and far abroad. Each ambassador, starting to service, originally handed over to sovereign credentials and gifts. Surely, among similar gifts by the Chinese ambassadors there have been brought to Middle East and to the countries of Europe the painted dolls, furniture, caskets, etc. from China. And court artists, imitating samples of "exotic culture», quickly seized new receptions, technics and included them in the products [5]. Though I shall note that in varnish miniature ofUzbekistan and neighbour-
ing countries neither in stylistics, nor in subjects the Chinese features are not felt. On the contrary, in each of these countries artists on the basis of the traditional canons have developed the original art language. The Chinese features are felt only in techniques.
Speaking about jeweller art of Uzbekistan, I shall note, that earring "kashkarboldok" has the Chinese roots. From the name of this earring there could see that Kashgar is a province in China where live Uigurs; and "boldok" is earring. This earring is very popular first of all in Fergana valley, rather than in other areas of Uzbekistan; Fergana is geographically very close to Kashgar. Likely the first images of this earring have been brought from Kashgar still at the end ofXVIII, or in XIX century by traders. And local women of fashion began at once to get these earrings for the caskets so far as in museum assemblies the similar earrings, concerning to earlier period, do not meet.
This variant of earrings is interesting by that that in the center is situated circle - as a symbol of the sun, and along the edges the vegetative patterns -a symbol of paradise garden. These patterns were transformed within centuries. For example, that circle is primordially connected to swastika (a symbol of life - four sides of light, four seasons, further symbolizes fire, water, sky, ground, etc.). If to twist it continuously, it turns to a circle - wheel. Continuously turned wheel is a symbol of immortality of spirit and infinity as it is typical for monuments of Buddhist culture. This earing usually happens sizable and in Uzbekistan it is carried out in filigree technics due to what it is looked solemnly and gracefully.
References:
1. Sharq miniatura maktablari (Schools of East miniature painting) // Collection of articles. Authors: A. Madraimov, N. Normatov.- Tashkent: Publishing house of literature and arts named after Gafur Gulyam. 1989.- 183 p.
2. Shayakubov Sh. K. The traditions of miniature in works of painters of Uzbekistan. PhD Dissertation.-Tashkent, 1987.- 162 p.- Library of Research Institute ofstudy of art ofAcademy ofArts of Uzbekistan. IA (M), Sh-28,- No. 1308.- 76 p.
3. The State Hermitage Museum. Exhibitions guides. Culture and arts of Chine. Under total editorial staff of prof. M. I. Artamonov.- M.: Art. 1956.- 27 p.
4. The art of Chine. Album. Author-compiler N. A. Vinogradova.- M.: Fine art. 1988.- 15 p.
5. Fatkhullaev R. Methodological Problems in the Studies ofVarnish Miniatures of Uzbekistan // Magazine "Central Eurasian Studies Review". Publication of the Central Eurasian Studies Society. C/o Harvard Program on Central Asia and the Caucasus, USA.- Vol. 5.- Number 2.- Summer.- Cambridge, 2006.-P. 47-50. URL: http://www.cess.muohio.edu/cesr/pdf/CESR_05_2.pdf; Fatkhullayev R. S. Some of methodological problems in the studies ofvarnish miniatures of Uzbekistan // Magazine "Public opinion and human rights".- No. 4.- Tashkent, 2005.- P. 84-92.
