INTERPRETATION OF HISTORICAL AND CULTURAL HERITAGE IN THE WORKS OF CHINGIZ AKHMAROV

Аннотация

This article discusses the interpretation of historical and cultural heritage in the works of Chingiz Akhmarov. In the genre of portraiture, folk art is approached with high skill, revealing the characteristic features of its national bright patterns. The perfect study of the human image in his portraits achieves a full disclosure of the psyche of the aesthetic, spiritual world of the heroes of the work. Without repeating the miniature, he takes a unique artistic approach, based on the poetic plastic conditionality, artistic space and form, the decorative principle of composition, as well as the rich thinking color of medieval masters, linear graphics. KEYWORDS: - interpretation, historical heritage, cultural heritage, works of Chingiz Akhmarov, portraiture, folk art, high skill, characteristic, national bright patterns, perfect study, aesthetic world, spiritual world, poetry, melody, dance, fine arts, heroes of work, miniature. stability. Ch.Akhmarov will play a key role in the I NTRODUCTION traditional values of Uzbekistan, national identity, historical and cultural heritage, the Chingiz Akhmarov (1912-1992) is a shining artist’s work, which laid the foundation for his example of traditional oriental aesthetics in individual signature. To this end, the artist’s Central Asian art. His unique and individually study of the traditions of the school of miniature handcrafted works still retain their value today. in the 50s embodies in his work the principles of His monumental, bench painting, flatness, space and conditionality. cinematographic and theatrical works, rich heritage of graphics, ceramics, lacquer T HE MAIN FINDINGS AND RESULTS miniatures play an important role in our national ideology. In the analysis of historical and cultural Without repeating the miniature, he takes a heritage in the works of Chingiz Akhmarov, it is unique artistic approach, based on the poetic important to re-examine the fine arts in the plastic conditionality, artistic space and form, the process of formation of the national ideology decorative principle of composition, as well as today, to look at it from the perspective of our the rich thinking color of medieval masters, current ideology. This will help us to understand linear graphics. These studies had a positive ourselves and restore our national values. effect on the formation of an independent concept, on the basis of which not only The talent, which is felt in the artist from an early stylistically, but also visually, on the basis of age, grows up in an intelligent, enlightened spiritual, philosophical and enlightenment, the family, as well as education in the hands of aesthetics of the whole East grew. specialists, mature masters, leads to creative CURRENT RESEARCH JOURNAL OF HISTORY 19 ISSN – 2767-472X https://masterjournals.com/index.php/CRJH CURRENT RESEARCH JOURNAL OF HISTORY 2(8): 19-21, August 2021 DOI: https://doi.org/10.37547/history-crjh-02-08-04 ISSN 2767-472X ©2021 Master Journals Accepted 15th August, 2021 & Published 20thAugust, 2021 It should be noted that tradition plays a major portraiture, folk art is approached with high skill, role in the national specificity of art. The revealing the characteristic features of its problems of ethnocultural traditions have played national bright patterns. The perfect study of the an important role in the formation of European human image in his portraits achieves a full art in Uzbekistan in the early twentieth century, disclosure of the psyche of the aesthetic, spiritual the young art school. In this regard, the world of the heroes of the work. In the portraits celebration of the anniversaries of such thinkers “African” (1957), M. Turgunbaeva (1951), Usto as Beruni and Alisher Navoi in the country, the Jurakulov, poetess Zulfiya (1965), R. Timurov growing interest of artists in the artistic heritage (1961), Rakhima (1951), created by the artist in of the Uzbek people. the late 1950s and early 60s, the depth of the world of folk art was shown to be felt. Despite the growing interest and application of miniatures and folk arts in 1020-30, the By the early 1960s, the formation of national art interpretation of miniature art in the works of schools would be at the practical and theoretical Usto Mumin, Chingiz Akhmarov and his murals at center of national issues. On this basis, the the Navoi Opera and Ballet Theater in Tashkent national heritage becomes the object of creative are an important source in the formation of the research. There are two culturally relevant republic’s monumental painting principle. strata, the first is folk folklore and traditional serves. creative heritage, and the second is the Middle Eastern miniature traditions, which were the Indeed, the paintings on the walls of the Navoi only visual traditions in Central Asian folk art Opera and Ballet Theater (1944-1947) are one of until the discovery of monumental murals found the first and unique works of art in the majestic in medieval monuments. But