CC BY
8
European Journal of Arts 3(2021) ' №hi!!'ER Section 3. Theory and history of culture - ISSN 2310-5666 -
УДК 7.036 DOI: 10.29013/EJA-21-3-102-105
D. B. UMAROVA/
1 Tashkent University of Information Technologies named after Muhammad al-Khwarizmi
SPECIFICITY OF POSTMODERNISM IN THE NATIONAL ART OF UZBEKISTAN
Abstract
The purpose of the research: This article is devoted to the analysis of postmodernism in the work of artists of modern art of Uzbekistan during the period of Independence.
Research methods: The peculiarity of the concert art of Uzbekistan installation, environment, performance, video art, photo art was born and revealed in the work of artists in experimental practical practice.
Research results: J. Usmonov: "the road", "thirst", "Spring", "Sarob", "cornflowers", "Tree of Life", "Soul" (2001, installation" The Way of understanding the spirit") was considered a bold step in the field of traditional visual and plastic thinking in the direction of the tendency to strive for perception-space, and in the ideological coverage of the project "spirit and fantasy" painting, installation, decorative, plastic dishes and art objects were used.
Scientific novelty: Intensive creative activity for the purpose of leadership, perseverance in the application of new technologies and the first experiments of curatorship had an impact on the development of contemporary art in the Republic. Critics believe that Akhunov is the first theorist and practitioner who tried himself in contemporary art in all genres and forms, such as object, installation, perfume, video art, curatorial project. In 1987, for the first time in Uzbekistan, the installation "Stairway to Heaven"was installed and carried out. In 1991, the" temple" created an installation consisting of stones. Akhunov: installation " Forgotten sand "(2001, installation "the way of understanding the soul").
Practical application: The trend of changing the art of Uzbekistan towards postmodern trends is due to the huge influence of aesthetic communication between the West and the East during the XX century, when it reaches various options and becomes a little weaker within the framework of works of art and begins to have an unusual artistic appearance, when it begins to look for Absolutely New, adaptation of postmodernism as a phenomenon of post-industrial science and acceptance of a new historical presence in it of experience and history related to changes in the economy, as well as in society and culture, the technologies would have happened in due time.
Keywords: landscape, painting, "thaw", "severe style", easel painting, "subject-thematic painting".
For citation: D. B. Umarova. Specificity of postmodernism in the national art of Uzbekistan // European Journal of Arts, 2021, №3. - P. 102-105. DOI: https://doi.org/10.29013/EJA-21-3-102-105
Introduction
In painting, national postmodernism became one of the main directions, bringing the issue of national originality to new artistic heights. The enthusiasm of interest in values, the use of modernist factors in the interpretation of themes and images have demonstrated a great opportunity to solve the problems of the West and the East in modern national art. It is worth noting that real discoveries and plastic innovations were made on this road. The new aesthetics, which were formed in different forms of the art of Uzbekistan, previously provided for
the introduction of new themes, which were not realized in a whole fine art, due to the National cardboard and its plastic borders.
Material and methods
In Uzbekistan, it is connected with the formation and development of contemporary Art, with the rendering of various vectors, with the opening of ways of expression of national originality of Republican artists in modern forms of art. The specifics of the formation of a new segment of art have been manifested in the creation of new experimental forms of its own on the basis of European
D. B. UMAROVA SPECIFICITY OF POSTMODERNISM IN THE NATIONAL ART OF UZBEKISTAN 102
Section 3. Theory and history of culture ■ '
- ISSN 2
connoisseurism and its various branches and internal legislation. It is noteworthy that postmodernism entered the painting of Uzbekistan not after modernism, but after sosrealism. For this reason, it began to take shape in the situation of unification of different styles, manifested itself in harmony with the national heritage, and in modern culture it was manifested not only in the actions of mastering, but also in the renewal of traditions, which became specific ideas, symbols, semantic and stylistic "codes".
Discussion
For the first time the question of postmodernism in Central Asia N. Akhmedova raised. On the territory of Central Asia, in particular, in Uzbekistan, it is appropriate to pass a monograph on the first set of issues of postmodernism specifics. Therefore, in this chapter before the author are the tasks of showing different vectors in the formation and development of contemporary Art in Uzbekistan, revealing ways of expression of national originality of Republican artists in modern forms of art. The researcher noted that "the peculiarity of the development of postmodernism of Central Asia in the spirit of modernism not after Avangard, but after sosrealism and in different forms of "national styles" "in comparison with the contemporary art of some countries of Europe and the East is a bright manifestation, reflecting on itself their influence. For this reason, it began to take shape even in the case of a combination of different styles. This is manifested in a new partnership with the local heritage, manifested in the efforts not only to master and develop, but also to see again the traditions that have become unique ideas, symbols, semantic and stylistic "codes" in modern culture" [1, P. 175].
Uzbek artists with great experience in the end of the 90-ies in the development of projects of their interest in philosophical thoughts and experiments in the art of concert. V. Axonov, S. Tichina, J. Usmonov, A. Nikolaev, Yu. Yuseinov, F. Ahmadaliev, M. Foziliy,. Started in the creativity. They are open to acceptance and deny the boundaries of the processes of perception in the spirit of the quest for modern philosophy, allowing the artist to reveal himself in terms of authorship. And then - in the canny trend B. Ismailov, Z. Mansurov, the artists of the group "5+1" came in and activated the consciousness of the public with their deep thoughts about ancient and modern legends, developed in modern art installation, perfomance, action, objects, videoart intensively, boldly, original.
MIER European Journal of Arts 3 (2021)
h rig r
1-5666 -
Acknowledgement
In the contemporary art of Uzbekistan there are two trends in the work of artists if the artists of the first group work in the traditional national style, these are: J. Usmonov, F. Ahmadaliev, M. He's good. J. Usmonov.
J. Usmonov: "road", "thirst", "Spring", "Sarob», "cornflowers", "Tree of life" "soul" (2001, installation, "way of Understanding The Spirit") was considered a bold step in the field of traditional fine-plastic thinking in the direction of the tendency to strive for perception-space, and in the ideological coverage of the project" spirit and fantasy "was used painting", installation, decorative, plastic utensils and object efficiently. J. Usmonov restored the installation in the hall, in which live, thin and lush lawns, autumn leaves, and then coal, Gray, etc., according to the artist, symbolize the eternity of the world, the life of Man and nature. In the process of renewal of the art of Uzbekistan in 2000, the first contemporary art concert project in the art of Uzbekistan was shown in 2001 "the way of understanding the spirit". In it, a new experience of thinking was passed from traditional artworks to cartons. In bold searches in the direction of installation, inviescence, retreating from the forms ofpainting, a bold search for the expression of the philosophy of Sufis in various symbolic forms is felt. This was the first major project in Uzbekistan which included painting, installation, assembly, space object etc.
Installation ofJ. Usmonov "Valley of enlightenment" (2003, II modern Tashkent Biennale). A. the basis of this theme. Navoi's work "language ut-Tair" is a work of complex religious and poetic symbols. In the project, the artist retreated from the traditional forms of painting and exhibited in a scan installation. It is felt that a serious hand is applied to the forms of mystical and mysterious expression of the Sufi philosophy. As you go deeper into these ideas, J. Usmonov realized that it is not enough just to create an object, it is necessary to achieve the synthesis of plastic form, music, light, and these mysterious symbols reveal the most hidden bounds of vocality. The body of the blind from the wind in a small black room, visible in the flashing light in the Hall of the spectacle, is depicted antiquities, in their condition is expressed admiration, disappointment, each of which includes fear, excitement, admiration. J. With the help of new forms, Usmonov sought to show not only the strong sense ability of the blind, but also the mystery, spatial and duration of this process. It would be difficult to give these feelings on a cardboard with a handle. He gave them with
D. B. UMAROVA SPECIFICITY OF POSTMODERNISMIN THE NATIONAL ART OF UZBEKISTAN
European Journal of Arts 3 (2021)
PREMIER
Publishing
Section 3. Theory and history of culture
ISSN 2310-5666
the help of the artist's installation, but in his studies it was not limited to this. J. Usmonov continued the idea of form synthesis, retreating from the usual images and plunged into the unusual world of secrecy and mysticism. Who remains in the dark, illuminated by the vision of the blind, pours into the game together with the artist, understands that all existence in the world is relative, and the Blind is a means of recognizing him.
F. Ahmadaliev's installation of the "heart of the Dervish" (2005) gave an illustrative interpretation of the idea that the universe is infinite, and man is an atom in it. In the doctrine of mysticism, a person is said to be able to find his place in this world through his familiar background to God and the truth. The call of the dervishes, which the world calls for not to be given to the pleasures, has reached the truth. On this path, a person becomes a symbol of purity - the angelic companion, and the sage welcomes him with the singing of birds. Those who follow this path will certainly share the eternal prosperous life of the garden of paradise. He used Uzi-specific materials in the creation of the work. The image of the Dervish in the center of the composition is mood with the help of the steppe stem. This is a symbol of the fact that man and nature are indispensable in the world created by Allah. A burning candle in the bosom
of Darvesh is a symbol of his beauty, work, love, the glory of his soul and incomparable confidence. Therefore, this candle attracts attention. This is a peculiar philosophical-historical Road about the path of a particular free spirit, which can be real, anti-dependent and tragic. Hidden in the symbolic image of Darvesh - mysticism, it arises in the clash of the two worlds, manifests itself in the painting, in the photo-Art, object in a clear and invisible way. In the process of creating the project, the artist created a separate, distinctive space in which it is possible to feel the Battle of the "dervish heart".
Conclusion
The tendency of the art of Uzbekistan to change towards postmodernistic trends is caused by the enormous influence of the aesthetic communication of the West and East during the XX century, when it reaches various options and becomes a little weaker within the framework of the artworks and begins to have an unusual artistic appearance when it begins to search for Absolute New The adaptation of postmodernism as a phenomenon of postindustrial science and the adoption of a new historical presence in it of experience and history associated with changes in the economy as well as in society and culture, technologies would have occurred in due time.
References
Akhmedova N. R. Art of Central Asia in the 20th century: traditions, originality, dialogue. - Tashkent, 2004. -224 p.
Akhmedova N. R., Umarova D. B. Typological commonality and local specificity of contemporary art development in Central Asia // Journal of Contemporary Issues in Business and Government.- Australia.- Vol. 27. -No. 4. 2021. - P. 261-268. Print ISSN: 2204-1990. Online ISSN: 1323-6903
Mankovskaya N., Bychkov V. Aesthetics of postmodernism as a phenomenon of technogenic civilization / / Art studies 1-2 / 11. - M. 2011. - P. 188-210.
Taylor B. Actual Art 1970-2005 / Brandon Taylor; translated from the English by E. D. Melenevskaya; - Moscow: Slovo. 2006. - 256 p.
Umarova D. B. Postmoder/n // Tafakkur.- Toshkent, 2016.- No. 2.- P. 83-85.
Umarova D. B. Modern painting of Uzbekistan in the period of independence // Asian journal of research.-Osaka, Japan. 2019.- No. 1-3. SJIF: 4.1. - P. 8-15.
Information about the authors
Umarova Dildora Bakhtiyarovna, Acting associate professor of the Department of telestudia systems and applications of Tashkent University of Information Technologies named after Muhammad al-Khwarizmi, doctor of philosophy in art Sciences (PhD) Address: Uzbekistan, Tashkent Chilanzar 14, 7A 52 E-mail: dilexonsmile@mail.ru; tel.: (93)-397-61-14 ORCID: 0000-0001-8719-0350
1.
2.
3.
4.
5.
6.
D. B. UMAROVA SPECIFICITY OF POSTMODERNISMIN THE NATIONAL ART OF UZBEKISTAN 104
Section 3. Theory and history of culture ' P„№hÜ'ER European Journal of Arts 3 (2021) - ISSN 2310-5666 -
УМАРОВА Д. Б., 1
1 Ташкентского университета информационных технологий имени Мухаммеда аль-Хорезми
СПЕЦИФИКА ПОСТМОДЕРНИЗМА В НАЦИОНАЛЬНОМ ИСКУССТВЕ УЗБЕКИСТАНА
Аннотация
Цель исследования: Данная статья посвящена анализу постмодернизма в творчестве художников современного искусства Узбекистана периода Независимости.
Методы исследования: Особенность концептуального искусства Узбекистана инсталляция, окружение, перформанс, видеоарт, фотоарт родилась и раскрылась в творчестве художников в экспериментальной практической практике.
Результаты исследования: Дж. Усмонов: «дорога», «жажда», «Весна», «Сароб», «васильки», «Древо жизни», «душа» (2001, «инсталляция» Путь понимания духа») считался смелым шагом в области традиционного изобразительно-пластического мышления в направлении тенденции стремиться к восприятию-пространству, а в идеологическом освещении проекта» дух и фантазия «была использована живопись, инсталляция, декоративная, пластиковая посуда и предметы искусства.
Научная новизна: Интенсивная творческая деятельность с целью лидерства, настойчивость в применении новых технологий и первые эксперименты кураторства оказали свое влияние на развитие современного искусства Республики. Критики считают, что Ахунов-первый теоретик и практик, который попробовал себя в современном искусстве во всех жанрах и формах, таких как объект, инсталляция, парфюмерия, видеоарт, кураторский проект. В 1987 году впервые в Узбекистане была установлена и проведена инсталляция «Лестница в небо». В 1991 году» храм «создал инсталляцию, состоящую из камней. В. Ахунов: инсталляция «Забытый песок (2001, «инсталляция» путь понимания души»).
Практическое применение: Тенденция изменения искусства Узбекистана в сторону постмодернистских тенденций обусловлена огромным влиянием эстетической коммуникации Запада и Востока в течение XX века, когда он достигает различных вариантов и становится немного слабее в рамках произведений искусства и начинает иметь необычный художественный облик, когда он начинает искать Абсолютно Новое, адаптация постмодернизма как феномена постиндустриальной науки и принятие нового исторического присутствия в нем опыта и истории, связанных с изменениями в экономике, а также в обществе и культуре, технологии произошли бы в свое время.
Ключевые слова: пейзаж, картина, «оттепель», «суровый стиль», станковая живопись, «сюжетно-те-матическая картина».
Информация об авторах
Умарова Дилдора Бахтияровна, исполняющий обязанности доцента кафедры систем и приложений телестудии Ташкентского университета информационных технологий имени Мухаммеда аль-Хорезми, доктор философских наук в области искусствоведения (PhD) Адрес: Узбекистан, г. Ташкент Чиланзар 14, 7А 52 E-mail: dilexonsmile@mail.ru; те1.: (93) 397-61-14 ORCID: 0000-0001-8719-0350
УМАРОВА Д. Б. СПЕЦИФИКА ПОСТМОДЕРНИЗМА В НАЦИОНАЛЬНОМ ИСКУССТВЕ УЗБЕКИСТАНА
