PECULIARITIES OF LANDSCAPE GENRE IN PAINTING IN UZBEKISTAN Umida Akhmedkhodjaeva Researcher

Аннотация

The content of the article is a review of the artistic trends that emerged during the sharp development of the landscape genre in the second half of the 20th century in the context of historical and social changes. Keywords Landscape genre, landscape painter, plein air, landscape-painting, industrial landscape, epic landscape, lyrical landscape, symbolic-metaphorical landscape, artistic trend, plot picture, motif, immanent. In the second half of the 20th century, the gradual development of the landscape genre in the painting of Uzbekistan was distinguished by its unusual characteristics, which were the result of complex historical and cultural changes in society. In 1956, at the 5th congress of artists of Uzbekistan, L. Rempel stated that "the bright color of the land of Uzbekistan is not a texture invented by formalists, it is a fact".[1] Russian and national artists began to deeply and consistently study the uniqueness of the nature of Uzbekistan by going to a concrete place "plein air". They were able to clearly see not the factual value of the depicted area, but its lyrical and beautiful aspects. The landscape painting has its place in the painting, in which the brightest features of the nature of the country (district) chosen by the artist are concentrated in focus. Industrial and urban, epic and lyrical (romantic), as well as symbolic and figurative types of landscape appeared. A number of new landscape painters were considered as representatives of these types of landscape painting. In particular, representatives of industrial landscape: U. Tansikbaev, R. Timurov, E. Kalontarov, P. Pantyukhin, V. Petrov, G. Shpolyansky, Yu. Yelizarov, A. Mirsagatov, A. Aliyeva, B. Babayev; city views: M. Novikov, V. Zhmakin, V. Zelikov, Yu. Taldikin, R. Viko, A. Yunusov; lyrical (romantic) and epic: N. Karakhan, P. Gan, N. Kuzibaev, Z. Inogamov, G. Chernukhin, V. Ziyoyev, V. Enin, V. Troshina; symbolic: E. Mel'nikov, G. Zil'berman, G. Ul'ko. 88 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference V.I.Zhmakin “On the construction of Angrenskaya GRES” oil on canvas (1958) There was a need to perceive nature through the prism of "imagery". In the second half of the 1950s, significant changes began to take place in the image of Uzbekistan, which became the threshold for the rise of national schools in the 1960s. This period is characterized by the flourishing of the landscape genre. Landscapes of great painters such as U. Tansikbaev, N. Karakhan, V. Zhmakin, R. Timurov, N. Kuzibaev, M. Novikov, Z. Inogamov, P. Gan and others played a big role here. These artists, who promoted the idea of national landscape, mastered a wide range of artistic tasks with the help of new pictorial means. In the landscape of this period, a tendency to strive for majesty was observed, the problems of the light-air environment were solved, and the tasks of the open-air space were defined. Observing the state of the atmosphere and the change of natural color depending on the light, the artists searched more precisely for tonal-color relations in the landscape. New methods of landscape composition were also formed, which allowed to make the landscape space not just a landscape divided into plans, but a part of wild nature. It was during this period that the real foundations of landscape painting were laid, masters who studied in Moscow and Leningrad appeared. These are R. Ahmedov, N. Kuzibaev, M. Saidov, T. Oganesov. For these artists, plein air work was the main aspect of creativity. And naturally, this led to the development of the scene. H. Rahmanov, G. Shpolyansky - the authors of the "Transport of Uzbekistan" series of landscapes join the tireless research of N. Karakhan and U. Tansikbaev aimed at determining the emotional-expressive and decorative-tonal possibilities of color, M. Yesin - "Drilling lights", K. Bogodukhov, and other artists are constantly or occasionally interested in the landscape genre. The desire of landscape artists to express the worldview of contemporaries is manifested in the selection of motifs 89 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference and their artistic interpretation. In this regard, V.Zelikov's "Flying cranes" (1962) is characteristic of the small landscape. In the panorama of the construction of the new district, in the clear order of the newly raised houses, in the rhythm of the tower cranes, the artist felt the breath of today. In the 1960s, E.Kalontarov, P.Pantyukhin, V.Petrov's works are distinguished by their unique color combinations and architectural forms.[2] N.Karakhan “Evening” oil on canvas. (1950) Studying the development dynamics and trends of landscape painting in Uzbekistan in the 1960s-1980s shows not only its widespread use in the painting system, but also its dominance. In the typology of development, the landscape of "pure nature" and the landscape of "second environment" are obtained. Traditionally, the landscape is dominated by