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Международный джазовый фестиваль в Узбекистане проходил при участии ведущих джазовых исполнителей и групп из США, Франции, Индии, Латвии и Узбекистана.
В рамках джазового фестиваля состоялись многочисленные выступления музыкантов студенческого Биг-бенда и джаз-квартета саксофонистов кафедры «Эстрадного инструментального исполнительства» Государственной консерватории Узбекистана.
Именно темброво-гармоническая сфера, наряду с новыми, в том числе импровизационными приемами формообразования приоткрыли дверь в «джазовую эпоху» и создали грань между джазом и такими его предшественниками, как менестрельная баллада, кекуок и регтайм [2, 186].
Джаз - это неотъемлемое искусство в Узбекистане. Он прошел долгий путь до становления на данный этап.
Джазовое искусство - одна из своеобразных сфер современной музыкальной культуры. Джаз оказывает особенно большое влияние на духовный мир молодежи, мировосприятие которой формируется под воздействием окружающей среды. Джаз необычное, во многом парадоксальное явление, аналогов которому нет, он очаровывает, то принимая форму развлекательно-эстрадную, то углубляясь в сферу утонченных экспериментов, философских размышлений, джаз живет бурной, насыщенной жизнью. Молодежь интуитивно чувствует в нем свежесть, избыток динамического импульса мощной жизненной энергии и силы, которые не столь ярко выражены в других областях современной музыки. Магнетически притягательная импровизационная природа джаза способствует развитию творческих способностей личности, музыкального мышления, возможности более глубокого восприятия мира.
Список литературы / References
1. Коллиер Дж.Л. Становление Джаза. М.: Радура, 1983.
2. Конен В.Д. Рождение джаза. М.: Сов. композитор, 1984.
TYPES OF ORNAMENTS AND THEIR IMPORTANCE IN MINIATURE
ART
Payzieva Ch.A. Email: Payzieva17148@scientifictext.ru
Payzieva Charos Alisher qizi — Teacher, DEPARTMENT OF MINIATURE AND BOOK GRAPHICS, FACULTY OF FINE ARTS, NATIONAL INSTITUTE OF ARTS AND DESIGN NAMED AFTER KAMALIDDIN BEKHZAD, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: this article explores the types of ornaments used in Oriental miniature art: girih, arabesque, field and chain ornaments, and their importance in manuscripts. There are compositional structures of art decor. Like all forms of visual art, the art of creation is based on general models of composition. The ornament is very common in Muslim countries and differs from the peoples of Europe and Africa. A feature of the eastern pattern is its endless continuation. It is noted that a full understanding of Islamic fine art plays an important role in analyzing the composition of the manuscript with margins andframes.
Keywords: oriental miniature art, Islamic art, types of ornaments, ornament islimi, field decoration, chain decoration, manuscripts and geometric shapes.
ВИДЫ ОРНАМЕНТОВ И ИХ ЗНАЧЕНИЕ В ИСКУССТВЕ МИНИАТЮРЫ Пайзиева Ч.А.
Пайзиева Чарос Алишер кизи — преподаватель, кафедра миниатюры и книжной графики, факультет изобразительного искусства, Национальный институт художеств и дизайна им. Камoлиддина Бехзода, г. Ташкент, Республика Узбекистан
Аннотация: в этой статье анализируются типы орнаментов а также их значение в рукописи, используемых в искусстве миниатюры Центральной Азии, такие как гирих,
исламские узоры, поля и цепочный орнамент. Описаны композиционные структуры искусства декора в восточных рукописях. Изучена важность рукописных орнаментов на основе книги А. Жоме «Саломан и Абсал». Отмечается, что для полного понимания исламского изобразительного искусства играет важную роль анализ иллюстрации непосредственно вместе с декоративным обрамлением.
Ключевые слова: искусство миниатюры Востока, исламское искусство, виды орнаментов, гирих, орнамент «ислими», орнаменты для обрамления текстовой части, цепочные орнаменты, рукописи, геометрические фигуры.
UDC 7.048.1
The artistic heritage of the Uzbek people is multifaceted and rich. Great examples of our material and spiritual culture are known not only in our country but throughout the world. After Uzbekistan gained independence, interest in history, national values and traditional culture increased. Uzbekistan pays special attention to these issues.
One of the features of Uzbek culture is the development of Central Asian miniature art. In the middle Ages, unique miniature schools were formed in the East. Including Egypt, Syria, Iraq, Central Asia, Azerbaijan, Iran and India, all manuscript decorations are interconnected: a linear rhythm and a subtle combination of colours determine their design. Like all forms of visual art, the art of creation is based on general models of composition. The ornament is very common in Muslim countries and differs from the peoples of Europe and Africa. A feature of the eastern pattern is its endless continuation. The ornament consists of two types: Islimi and Girih.
Islimi ornament is a decorative representation of plants in nature. It can be rhythmically reproduced at a certain distance from the rhizome, flower and leaf forms of the plant and can continue indefinitely. In miniature paintings, islimi ornament is used to decorate buildings, yurts, tents, rugs and blankets (Fig. 1).
Fig. 1. Ornament islimi
Girih is a combination of geometric shapes. In German, the word means "embarrassed," "knot." It is widely used by Muslim peoples in architecture, miniature, ceramics, carving, carpet weaving, and other applied arts. There are many types of weights, and the basis is the intersection of circular, triangular and square shapes. The belt is drawn using a ruler and a circle with maximum accuracy. The peculiarity of girih is that the line around the figure is interconnected with the other line and can knit at one end. Classic miniature works were effectively used to decorate the walls of the building, courtyard, royal throne, tent, umbrella, rug and other forms. The following types of weights are available:
Fig. 2. Girih ornament
1. Girih, from the intersection of triangles.
2. Girih, connections consisting of intersections of rectangles.
3. Girih, consisting of circular intersections.
4. Girih, consisting of intersections of elastic forms [1] (Fig. 2).
Although these tessellations consist of some restricted and regular shapes (motifs) which have their own specific Persian names such as Shamseh (star), Torange (the quadrilateral tile), Sormeh-Dan (the bow tie tile), Tab'l (the concave octagonal tile), etc., these shapes have generated various and distinct patterns in art and architecture. Assessing many examples from the past 1000 years reveals that the main feature of the Girih is the mathematical and geometrical principles used in drawing it. The diversity of pattern types is based on the variety of methods for drawing. It is useful for current designers to know how each pattern is drawn [2].
Fields are a decorated area that surrounds a composition. The fields are diverse, with a wide variety of colourful, islimi, girih, animal, floral and human images. In some fields, we often see images of birds, animals and other decorative or fantastic animals. Fields for simplicity look like spots of different colours or pieces of gold.
A B C
Fig. 3. a. The Khamsah, or five poems Makhzan al-asrar F.6r 1539-1543 British Library; b. Four young scholars in discussion, signed by MuhammadMurad Samarqandi, Persia, Safavid, Bukhara, early 17th; c. Youth Fallen From a Tree', Folio from the Shah Jahan Album
While the space of the letter or image is empty, the entire composition of the fields indicates that the work with the fields could be done by a special artist. In some miniatures, the form of the composition appears in the fields and merges with them. This is one aspect of miniature art. This arrangement of images is an integral part of the book industry [1] (Fig. 3).
Watching the decoration of the pages of the classic book, we see that the emphasis was on the field decoration. A field is empty space around an image or text on a sheet, leaving a blank sheet of paper and subsequent additional texts.
Fig. 4. A. Jome "Saloman andAbsal"
The margins of the pages were decorated in the form of spots, and later they began to develop simple monochrome compositions. Typically, such decorations are represented by different ratios of the same colour. At the same time, we see that the fields are widely used in different colours and gold. Although fields are used as book illustrations, some of the thumbnails have complex compositions and some as full-colour illustrations. In these figures, the composition of the fields, the colour, and the performance skills of the fields are at the level of the main image, so that they can be combined. In such works, it is difficult to distinguish between the main image and the ornaments of the fields. The goal of leaving different space around the main text of the sheet is to keep the text for a long time. The reader is most affected by the openness of the book when scrolling, unloading, accidentally entering the water and fire. Book masters left the edges of the pages to prevent such damage or permanent damage to the image.
Therefore, the fields field is often skipped. Although manuscripts are used as ornaments of plant, phonetic, and cloud forms as part of fields, one can see the use of A. Jomi ornaments in the manuscripts of Saloman and Absal. The portraits of the manuscript sheets used rectangular and octagonal portraits. Islimi ornaments on the sheet are made of soil, and you can see a wide variety of colours used in the work of human clothing and face. On some saved pages, you can see that the fields are fully traced, leaving space for text or images in the center. From this, we can conclude that the ghost drawing on the sheet was made by another artist. Currently, we can find out which miniature school they belong to. For example, we often see in Indian miniature schools that field painting is closer to the real state. Indian miniature schools are characterized by the widespread use of luxurious and sophisticated forms of framing (Fig. 4).
Fig. 5. Chain ornaments
Chain ornaments. Ornaments on book sheets are visible in the corridors of gold colour, resembling two or three ropes, as a result of the interaction of rhythmic lines in the interior of the building. When the border strip is coloured gold to form a chain, depending on the complexity, two or three lines are placed at the same distance. The points are connected to each other. When drawing a chain, it is important to follow the procedure [1] (Fig. 5).
The design of the page has the right to be analyzed separately because they have different samples of the composition. Unfortunately, since classical manuscripts are stored in libraries around the world or distributed in private collections, we do not have complete information about the types of photographs and the fields they contain. It is safe to say that along with the illustrations contained in the manuscript, the study and analysis of field decoration are of great importance in our understanding of Islamic art.
References / Список литературы
1. SabirovM.M. "Miniatyura kompozitsiyasi" Textbook. Т.: «Info Capital Group», 2018. 152 p.
2. Kasraei, M.H., Nourian Y. and Mahdavinejad М. "Girih for Domes: Analysis of Three Iranian Domes." Nexus Network Journal. Vol. 18. № 1, 2016. Pp. 311-321. SCOPUS. [Electronic Resource]. URL: www.scopus.com, doi:10.1007/s00004-015-0282-4/ (date of access: 17.03.2020).
РОЛЬ МУЗЫКАЛЬНЫХ ИНСТРУМЕНТОВ В ЖИЗНИ ЛЮДЕЙ В ДРЕВНЕЙ ЦЕНТРАЛЬНОЙ АЗИИ Юсупова З.Х. Email: Yusupova17148@scientifictext.ru
Юсупова Зебихон Хусниддиновна - преподаватель, кафедра макомного инструментального исполнительства, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: теоретические взгляды ученых Востока сформировались на основе имеющегося опыта исполнительского искусства, которые в своих трактатах подробно рассказали о роли и значении музыки в обществе. «Книга о музыке» Фороби (873 - 950), «Ключ к знаниям» Аль-Хорезми (X век), «Книга о благородстве» Сафиуддина Урмави (1216 - 1294), Джами (1414 -1492) "Трактат о музыке " излагают важную информацию об исполнении музыки и народных инструментах. В данной статье будут приведены сведения об исполнении древних музыкальных инструментов народов Востока. Кроме того, существуют этапы становления древних музыкальных инструментов и примеры из научной литературы.
Ключевые слова: музыка, музыкальный инструмент, Восток, Центральная Азия, исполнители, музыкант.
THE ROLE OF MUSICAL INSTRUMENTS IN PEOPLE'S LIVES IN ANCIENT CENTRAL ASIA Yusupova Z.Kh.
Yusupova Zebihon Khusnitdinova — Teacher, DEPARTMENT INSTRUMENTAL PERFORMANCE IN MAKAM, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the theoretical views of Eastern scholars were formed on the basis of the existing experience of performing arts, which in their treatises described in detail the role and significance of music in society. "The book of music" by Forobi (873-950)," The key to knowledge "by al-Khorezmi (X century)," The book of nobility" by Safiuddin Urmavi (1216-1294), Jami (1414-1492) "Treatise on music" contains important information about the performance of music and folk instruments. This article will provide information about the performance of ancient musical instruments of the peoples
