Culture and traditions uzbekistan

During the reign of Amir Temur and Temurids, a peculiar mural appears – from monumental, with unfolded historical narrative compositions, to more chamber – landscape, decorative images in style, for which the notion of “ornamental painting” is more applicable (in the interiors of mausoleums from the Shahi Zinda, Bibi-Khanym, Tuman-aka in Samarkand, the interior of the mausoleum of Gumbazi Seyidon in Shakhrisabz there are paintings depicting birds, located on the branches of trees, landscapes. Nevertheless, the main element m style of art of the Muslim time becomes ornament of Uzbekistan, which has become an important component of the artistic environment of Muslim cities. He was decorated with both internal and external sides of monuments, giving the landscape and the space of the city corresponds to the ideas of Islam aesthetic image.
In the middle of the 19th century, the traditions of European fine art penetrate into the region— first of all, easel painting and drawing.
The art of Uzbekistan in all modern forms and genres was formed mainly in the twentieth century and is a product of Eurasian thinking. The traditional artistic culture of Uzbekistan, which has several millennia of its development, by the beginning of the twentieth century bore a reflection of the complex historical, geopolitical, ethno-cultural, religious, socio-economic identity of the region. The dynamics of civilized shifts, the great social upheavals of the beginning of the twentieth century created the background for the birth of European forms of art, and this was not a simple mechanical transfer of European or Russian art to the national soil.
Until the mid-20th century, the visual arts of Uzbekistan were represented by the names of Russian artists who came here at different times (an exception is the work of A.N. Volkov – born in Fergana). In the very first works of artists of Uzbekistan at the beginning of the twentieth century, one can see a symbiosis of creative searches brought from European art and the “genetic code” of the eastern artistic worldview. An example of this is the works of A.N. Volkov, A.V.Nikolaev (Usto Mumin), N.Karakhan, M.Kurzin, E.Koravay, U.Tansykbaev, O.Tatevosyan, V.Ufimtsev and other prominent representatives of the “Turkestan vanguard” ”, Beautifully represented in the collections of the Nukus Museum named after IV Savitsky and the State Museum of Art of Tashkent.