Culture and traditions uzbekistan

ART IN UZBEKISTAN
PLAN:

1. Art Of Uzbekistan

2. 
   The epoch of antiquity on the territory of the republic 
   
3. 
   During the reign of Amir Temur and Temurids
   

1. Art of Uzbekistan

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 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 of the 7th-8th centuries, where in the large hall there are preserved images of the ambassadors with gifts from neighboring principalities and distant possessions, carefully traced robes, rich in ornaments, with drawings of birds and fantastic animals, to the king of Samarkand. in medallions. Sogdian art provides samples of the synthesis of various arts – painting and sculpture.

Early medieval monumental art and sculpture of Uzbekistan in spirit and style are more associated with the previous ancient times than with the subsequent Muslim Middle Ages, although they had a great influence on the subsequent development of Central Asian art.
With the arrival in the region in the VII-VIII centuries. the religions of Islam, the figurative images were forbidden, the wall sculpture and painting are beginning to be destroyed. According to written sources, at the beginning of the VIII century, during the destruction of the Zoroastrian temple in Samarkand, huge wooden idols were burned. Theologians of the 11th-12th centuries, instructing the faithful, called for the destruction of wall paintings with figured images in bathhouses. Monumental painting and sculpture of previous centuries gradually disappear. Fine art gives way to ornamental art, which is becoming one of the dominants of Muslim aesthetics. The visual appearance of the cities has changed. With the introduction of Islam, the nature of architecture is changing, which, in combination with religious prohibitions, has changed the position of sculpture and wall painting. In the XI-XIII centuries. theologians appealed to ban images of animals and people, even in decorating household items and woven goods. At the same time, wall painting and sculpture continued to exist in various cities of Maverannahr as early as the 11th – 12th centuries, although this process was episodic in nature and was associated more with the individual tastes of a particular ruler.