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Uzbek Art in 1960s-80s

The 60-80s of the past century started а new stage in the history of Uzbek art and are characterised with further consolidation of features of national art, the search of national peculiarities in art as well as gradual transition towards expressing personal feelings. These, in turn, resulted in the increase of the number of stylistic varieties and means of expression. The artists attempted to utilise more fully different symbolic characters, conventional signs, possibilities of colour, form, line and facture. These researches and experiences were carried out by those artists who entered the world of art in the late 1950s and in the 1960s, and got professional education in Moscow, St. Petersburg and Tashkent higher educational establishments. Ideological plastic changes began to be noticed in creative activities of those who started their activities in art quite earlier. The researches of this period reassessed the national and world cultural heritage and created opportunities to apply its directions appropriate for the period. The culture of the antique world and the Middle Ages and the traditions of the Renaissance art attracted the artists. The happenings occurred in the art of the 20th century were not ignored by the artists as well.

Artists now began analysing their own feelings, experiences and senses and started expressing them in colour, line and shape forms rather than describing the reality didactically with an elated spirit.

Researches on increasing the effectiveness of shapes, the soundness of decorations and rational use of the effects of line and colour paints were reflected in the works of the artist Georgiy Ulko who entered the artistic world in the late 1950s. Bright colours and modern solutions of compositions in his "Portrait of master Hazratkulov" (1961), "Portrait of master Jurakulov", "Panjikent mural painting", etc. attracted great attention.

These works of art differentiate from the solutions of art in the 1950s. The effectiveness of colours, expressiveness of lines and shapes, the solutions of spatial breadth as well as effective solutions of problems of rays and air developed further in creative activities of the artists who started entering the world of arts in the middle of the 1960s.

Ruzi Choriyev was one of those who were at the head of innovations of fine arts. Flexibility of lines and academic perfectness of pencil drawing in his works enriched with Eastern and Western plastic ideas and created the new "Choriyev" style in the art. ln his early works of art, i.е. portraits, he showed himself as а master of psychological portraits. His "Portrait of the art critic", "Portrait of my contemporary", etc. attracted great attention. These years were the years of formation for Bakhtiyor Boboyev's activity. His trilogy "Fergana suite™, group portrait dedicated to Khiva masters, portrait "Alisher Navai" etc. embodied the researches of the new period. The portraits by Gofur Abdurahmonov and Laylo Salimjonova also depict the spirit of the period.

The chain of different processes during the years being studied formed the spirit of modernity in V. Burmakin's creative activities. In his early researches V. Burmakin tried hard to find meaningful expressive shapes. His "Waiting women" and "Men in white smocks™ are characterised with their realistic compositions, effectiveness of colour systems and expressiveness of complexes of shapes. In "Men in white smocks", spiritual state of а group of doctors rushing towards the observers is described. Exactly these effectual means play an important role in exposing this state. Sound and clear shapes generate internal force and motion in the portrait. Through this style he created artistic characters of the people responsible for their professions. А number of 20th century Uzbek scientists like Н. Abdullayev, Y. Turakulov, S. Islombekov, etc. were also painted in the 20th century portraiture. Those who joined the artists of the years being studied as Bakhtiyor Nazarov, Digital Tursunnazarov and Gofur Kodirov also drew public attention. If their creative activities reflect the researches of the new period, Akrom Bahromov's activities characterise the traditional realistic art with profound psychological solution.

In the middle of the 60s and in the 70s of the 20th century the researches in Uzbek art were not only limited with the solution of plastic problems. Referring to human thoughts rather than social themes also began playing а leading role in the works of artists. These features can be found in the works of such artists as Sadulla Abdullayev, Shuhrat Abdurashidov, Javlon Umarbekov, Alisher Mirzayev, Bahodir Jа1o1ov, Maksud Tokhtayev, etc. who entered the world of arts in the late 1960s. The 1970s were the years of formation of these artists. Most of them began their creative activities with painting works of art in traditional realistic style and searched the new ways of expressing them.

The 1960-1980s were fruitful for Karakalpak artists as well. National Karakalpak colour representations which began developing in the works of I. Savitski, К. Soipov, etc. achieved perfection. J. Izentayev, М. Ishonov and В. Serekeyev took an active part in the artistic life and began revealing its peculiarities.

Talented artists worked in Bukhara, Samarkand, Namangan, Andijan, Kokand, Surkhandarya, Khorezm and other regions and began participating in exhibitions with their own works of art. Colourist А. Bakirov, graphic designer N. Kholov, artists R. Urazov, U. Boboyev, Toshboy Shuhrat, etc. from Andijan became renowned. The portrait of Avicenna by А. Bakirov was exhibited together with а number of portraits of intellectuals and attracted the attention of majority of people. The happenings occurring in Uzbek colour representation art were expressed in the works of the artist Muhammadjon Juraboyev from Fergana, the artists Bahodir Salomov, Asad Barnoyev, Saidjon Zelimkhonov, Muzaffar Abdullayev from Bukhara and the artist Asliddin Isayev from Samarkand.




Галерея искусств "Артбаза", 2002-2013гг.
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