Art in Uzbekistan Plan

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Art in Uzbekistan 
Plan 
1.
The epoch of antiquity on the territory of the republic 
2.
In general, the development of local art in its interaction with the traditions 
of the cultures of the countries of the Anterior and Middle East, Ancient 
Greece and Rome, India, China and the steppe East, which led to a peculiar 
symbiosis of various religious and artistic traditions, is characteristic of this 
whole historical epoch. 
The art of the Uzbek people has an ancient history going back centuries. The 
territory of Uzbekistan, which occupies a vast area of the Central Asian interfluve 
– the fertile valleys of the Oks and Yaksart, since ancient times was inhabited by 
numerous sedentary and nomadic tribes. In Zarautsay, Teshik-tash, Sarmyshsay, 
Aman Kutan, rock paintings belonging to the era of primitive society were found. 
The Amu Darya treasure, now kept in the British National Museum, confirms the 
existence of highly developed fine art in this area as far back as the Bronze Age. 
Samples of ritual sculptures, numerous terracotta figurines from the sites of 
Jarkutan, Molallitepa, Sapallitepa and other examples of the fine art of the ancient 
period on the sites of Bactria, Khorezm and Sogd testify to the deep traditions of 
monumental art and plastics. In the works of ancient art used complex semantics of 
ornamental, anthropomorphic and zoomorphic nature. They reflected a kind of 
artistic picture of the world, formed in the world view of the Eastern man. And the 
coexistence of various religions and cults, including Zoroastrianism, had a decisive 
influence on the mentality of the peoples of Central Asia.The epoch of antiquity on 
the territory of the republic (IV century BC – IV century AD), was marked by the 
flourishing of architecture, monumental painting and sculpture, jewelry art, small 
plastics. In the interiors of temples, palaces and castles of the first centuries AD, 
magnificent specimens of wall-mounted thematic painting and sculpture, made 
under the influence of Hellenistic and then Indo-Buddhist art (Khalchayan, Fayaz-
tepe, Ayrtam, Dalverzin-tepe, etc.) were found. 
Religious views in Bactria-Tokharistan were variegated. Different religions and 
cults coexisted here – Buddhism, dynastic cult and ancient local beliefs. Along 

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with Buddhism, declared at the turn of AD. Kushan ruler Kanishkoy state religion, 
the local population continued to worship the deities of the East Iranian 
pantheon.Perceiving the traditions of Indo-Buddhist iconography and enriched by 
the achievements of Hellenistic culture, Kushan art became a kind of conductor of 
this syncretic aesthetics to other adjacent regions (Toprakkala, Gyaurkala in 
Khorezm)In general, the development of local art in its interaction with the 
traditions of the cultures of the countries of the Anterior and Middle East, Ancient 
Greece and Rome, India, China and the steppe East, which led to a peculiar 
symbiosis of various religious and artistic traditions, is characteristic of this whole 
historical epoch.In the 6th century, with the establishment of the power of the 
Turkic Kaganate, political, trade and cultural relations between the Sogdian and 
Turkic people became more active. In art, there is a kind of Turkic-Sogdian 
symbiosis. Samarkand, Bukhara, the cities of Southern Sogd, Chach, Khorezm are 
becoming major cultural centers; magnificent palaces and castles (keshk) are being 
built here, which are decorated with beautiful wall paintings and sculpture. In 
contrast to the previous period, secular themes come to the fore in the art of the 
early Middle Ages. The visual art of this time is associated either with a heroic 
epic or with cults. Painting is distinguished by the complexity of the pattern and 
plot of the plot, compositional richness and coloristic richness. The main leitmotif 
of this painting is the struggle against the forces of evil and darkness, embodied in 
various thematic and plot variations. The plots of the paintings are secular, many 
themes are drawn from local mythology and epic. The masterpieces of 
monumental painting in Central Asia can rightly include early medieval paintings 
of the Tokharistan school in the dekhkan castle Balalyk-tepe (5th-6th centuries), 
with scenes of feasts of men and women in colorful robes with cups in their hands; 
wall paintings of Varakhsha, the capital of the rulers of the Bukhara oasis of the 
7th-8th centuries, rich in subjects, depicting a king sitting on a throne in the form 
of a winged camel surrounded by scenes of court life — sacrifices, hunting, 
entertainment, and epic scenes — the struggle of a hero sitting on an elephant 
leopards and fantastic animals. The masterpieces of the Sogdian school include the 
paintings of Afrasiab

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