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Section 4. Theory and History of Art
https://doi.org/10.29013/EJA-19-3-66-69
Askarova Zilolakhon, Basic doctoral (PhD) The National Institute of Arts and Design named after Kamoliddin Bekhzod E-mail: [email protected]
THE IMAGE OF WOMEN IN THE REALISTIC INTERPRETATION OF THE INDEPENDENCE PERIOD
Abstract. This article describes the interpretation of the portraits of women in the works of contemporary painter Akmal Ikramdjanov. We see the artist deep understands of human concept in creating realistic interpretations of women, his attempt to reveal the character of women, and the artistic expression of the universal human spirit and expression.
Keywords: female, portrait, realism, image, aesthetics, self-portrait, color, plastic, fabric, artist.
Contemporary art, the main type of fine arts of dullaev, S. Rahmetov, A. Ikramdjanov are widely
Uzbekistan, has evolved gradually and each stage has its own new artists. For many years, nationalism and humanity have been expressed differently in the painting world of Uzbekistan. In art, nationality is not created in one day, it is a product of the efforts of many artists for many years. Each era will have its own creators and its own heroes. The theme of "woman", reflecting the inner feelings of person, political economic and cultural, educational changes, nationalism and humanity, allows to connect the creativity of artists with more pressing problems.
The portrait is such an image of a person, in which it reveals not only the external appearance, but also the inner world and psychological features. Artists who created the image of women in the genre of portraits, the building of a strong realistic school in Uzbekistan carried out a fine dynasty of portrait painters.
It is recognized that such masters of portrait as A. Abdullaev, R. Ahmedov, R. Choriev, S. Ab-
recognized in the world. In addition, artists such as L. Ibragimov, J. Usmanov, G. Kadyrov, A. Nur, N. Imamov, M. Isanov and others, who created the image of women in avant-garde interpretation, can be mentioned.
In their works, the image of women represented the aesthetic ideal, the image of a positive hero. First and foremost, we see that our artists have a deep and broad understanding of the concept of a woman in the creation of a female image, an attempt to reveal the character of a woman, and the artistic expression of the universal spirit of a person expressing Uzbek shyness and embarrassment. In the history of mankind, women have been singing as symbols of beauty and peace. It cannot be denied today.
It can be seen in the artist's works. Akmal Ikramdjanov is one of our artists who today portrays women in a different way and expresses their innermost feelings in their works. There are so many different talents
in the creative world, one cannot go out of its own environment, the other does not fit into it, seeks its own and artistic aesthetic world, and the other navigates the spirit of regret and past times with a spirit of own and floats in the depths of human problems, the fourth type of creators give the power of imagination and the wing of thought, it holds the halter of future and future dreams, intentions, and goals. Such a thought engages a person when it comes to the life and creativity of a true member of the Academy of Arts of Uzbekistan Akmal Ikramdjanov.
"In the state of mind of the artist, - says the artist, over time, by the will of fate there are different changes. After the 1990-92's I began to see the spiritual need for portrait art. These years were for me a period of interest in history. At the same time, my passion for continuing the path of the teacher artists to the truth of life and the way of truthfully portraying the human figure has increased. Self-portrait abd then I started working on pictures of my daughters..."
In the portraits ofAkmal Ikromjonov during this period, a tendency is felt to reveal the inner and outer beauty of a person due to plastic sharpness through color and color integrity. The integrated colors gave the artist an artistic and aesthetic sense, consistent with the inner and outer beauty of the painting. His works such as "Self-portrait", "Komila", "Khosiyat", "Malika" and "Madina" give warm illumination to the human heart, spiritual maturation, and refined imagination.
The artist clearly shows that beauty is a reflection of national and universal aesthetic values. It is very important for the artist to feel the color palette and be able to apply them skillfully, to cheer up the meanings in the painting, to give a glittering makeup as if it were stained with fine details, or to create noticeable irregularities as in sculpture, all this is very important in creating a painting that will attract the attention of all. Having these qualities, a painter achieves the creation of a strange landscape of truth, a clear display of time and space. The viewer feels the universe in his work as if in a mirror.
The art must stir the heartache, as V. Kandinsky said, the "spiritual vibration". The painter must also evoke emotions, mood through his work. It is very difficult to achieve this. To do this, the artist must have the talent to be gifted by nature. The artist should clearly emphasize the changes that occur in life, the sad state of people, the pace of times and historical changes. Rare paintings are born to the world when technical knowledge and skill are harmonized. This process takes place in a state of mind, which can not be measured by the intellect, but only by feeling, understanding through the soul.
In the late 1980s, A. Ikramdjanov created paintings with socio-dramatic significance. While social processes are not indifferent to people, it was important that the artwork, such as fine jewelry, does not become a fading instrument of politicized prices and attitudes. Akmal Ikramdjanov managed to solve this problem as well.
On the cardboard "Alanga" ("Flames"), dedicated to the burning of women, the technique of painting turns into a bright metaphor, and the red, green color scheme evokes imagination as a symbol of a woman dressed in a double-sided snow-white dress. The green is an existing life, and the red is the other. The thin, black stripes in the picture reflect the despair of desperation. The color of the cardboard forms a space with an impressive image, which protects it from resembling a poster, symbolizing a feeling. The same generalized stylistics and the same symbolic palette of red, green, white color are devoted to the Afghan war of the painter.
The artist has a lot of paintings dedicated to women. Another of the works that attracted attention from them is this - the cartoon "Indian girl". The picture shows a slight change in the plate forms. They are presented in the form of a rectangular geometrical shape, the edges of which are sharply blackened. And this gave the image graphics and all the mystery.
The pursuit of philosophical generalization of ideas became the basis for the creation of a series of specially thematic paintings. In addition to
national problems, literary and mythological images and plots began to be reflected in them. The images of the generalization of the soul were depicted on the cardboard "Onalar zamini" ("Mothers' soul"). As can be seen from the appearance and color of clothes, memories and sketches of the results of his trip to the Surkhandarya Oasis served as the basis for this. Unlike the works of the series "Women of Surkhandarya", where the overall plasticity and sharp edges of the forms prevail, the artist wrote in this picture the details of the dresses, the faces, the household items and the landscape with care and accuracy. The women's face is photorealistic and epi-cally magnificent at the same time.
Plastic and color techniques used in these works of the artist are reliable and figurative. In particular, let's take a portrait of a middle-aged woman with many children "Bodomkhon Aya". She is in a dress decorated with bright yellow, red flowers and on the head is a white scarf. Her portrait is written in dark blue on a background with a steep line. And on the back of the Bodomkhon Ayah, there is a picture of the fading of multi-flowered lines symbolizing the local landscape. Such a method makes it possible to brightly reflect the image of the "Bodomkhon Aya", which, even in difficult times, does not lose hope, aspiration for life and can capture itself.
Akmal Ikramdjanov's portraits dedicated to women tend to reveal the inner and outer beauty of a man thanks to plastic clarity through color and color integrity. Having a holistic form, the colors have acquired an artistic and aesthetic meaning corresponding to the interior and exterior beauty of the painting. Portraits such as "Komila", "Khosiyat", "Malika", "Madina" are considered such works.
One of the important aspects of the artist's creative mind is to pay serious attention to the world cultural heritage, bright creative achievements of world and national art. Therefore, the effective harmonization of the cultural achievements of the West and the East in his creative endeavors is an important feature of the work of many national artists
in Uzbekistan. This feature was used by the artist in 1992 to create a series of portraits of his daughters - Komila, Malika and Khosiyat. And in 1993 he worked on the portrait of the ambassador ofJapan to Uzbekistan Mr. Magasaki. In this series of portraits, the painter used a single-tone background, following his style of detail-free.
But taking into account the specific nature of their daughter, in each case used the main spectrum of colors, respectively. The color and size of the dresses, as well as the circumstances of the images in which the portrait was being processed, some details were also not overlooked from his point of view. The portrait of Malika was done in red-brown tones. It looks as if her body is coming from the inside.
Combining the hands of Malika with femininity, the fact that her attention is concentrated in one place, the thoughtfulness in her eyes indicates that she is a person with an independent mind, striving towards her goal. The artist used inspirational colors to create the "Portrait of Komila". The little girl holding a black puppy in her hand is depicted on a warm background with a bright brown. The image of the girl is based on the contrasting colors of red, black and brown.
And the "Portrait of Khosiyat" is written in dark grey tones, in combination with the colors of white and peas on the shirt. The little girl sitting in her hands holding an apple, a little impatient, a dismayed state. His slightly cautious look indicates that he is emotionally involved. This can be understood from his eyes before entering the position he chooses. In the "Adras", the highest idea is based on the national fabric. One of the fabrics that evokes imagination in a way embodied in the figure of Uzbek beauty is an adras. Adras sings the history of Turkistan. And this is an indication of the artist's desire to open up to the commonality, the complex character ofnature. In this composition, consisting of three figures, the middle is depicted as a man, and on the two edges are women.
The abundance of the types of adras, whose clothes on the shoulders of women have turned a thousand different tones over the centuries, dem-
onstrating unusual charm, has not been left without the attention of the creator. During his career, Akmal Ikramdjanov made a lot of efforts to portray the image of a woman, her figure and inner feelings. She freely expresses the high appreciation of the patience, courage, and honor of Uzbek women. It is known that even in his works "Malika", "Madina", "Khosiyat", the face of a subtle creature always tries to be bright, cheerful. Each piece pattern that appears with the participation of girikh lines is shown.
Akmal Ikramdjanov is not only a national artist, but also a well-known artist who is able to present
contemporary artistic and philosophical events in the spirit of the nation. The edges of the creator are different, but they serve only one purpose, that is, to create beauty.
In conclusion, we can say that there are a lot of artists in Uzbekistan who represent the image of the Uzbek woman in the fine arts. The role of women in society, their hard work, nature, dedication and many other positive qualities are reflected in their works. Although the images of women in the works of the creators are different, they are all represented in one sense, as a symbol of beauty.
References:
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2. Абдуллаев Н. А. Узбекистан санъати тарихи.- Ташкент, 2007.
3. Икромжонов А. Каталог - Ташкент: "Тонг" 2002.
4. Икромжонов А. "Рассом, давр, та^дир",- Ташкент: "Санъат", 2012.
