SCIENTIFIC AND THEORETICAL FOUNDATIONS FOR DEVELOPING A SENSE OF NATIONAL PRIDE IN FUTURE ART TEACHERS THROUGH THE STUDY OF THE WORKS OF EASTERN THINKERS

Аннотация

The study of the intellectual heritage left by our ancestors and the analysis of historical portraits created by artists play a crucial role in shaping a sense of national pride among future art teachers. Keywords:Miniature, composition,shading, holisticperception In the system of teaching finearts, thestudy of theworks of Eastern thinkers provides favorable pedagogical conditions for fostering a sense of national pride in future art teachers. In 2023, the President of the Republic of Uzbekistan declared the year as the “Year of Attention to People and Quality Education.” In his speech, the President emphasized the wisdom of Imam Maturidi: “Live in harmony with your people, so that the nation will always stand with you.” The lives and works of Eastern thinkers have historically reflected their deep connection with the concerns of their people, as evidenced byhistorical sources. Beyond textual historical sources, studying theexternal appearance of our ancestors through fine arts lessons helps young generations develop national pride, a sense of honor, and love for their homeland. This aspect leads us to focus on theportrait genre in finearts. The artistic analysis of portrait paintings serves as a foundation for instilling national pride in students. Examining the depictions of historical figures such as Alisher Navoi, Zahiriddin Muhammad Babur, and Amir Temur allows students to connect with theircultural heritage and cultivateasense ofadmiration for theirancestors. For instance, Abdulhaq Abdullayev’s portrait of Alisher Navoi, created in 1981, not only holds aesthetic value but also reveals the great poet’s spiritual world. Similarly, Akmal http://www.internationaljournal.co.in/index.php/jasass 328 Volume15Issue04, April2025 Impact factor: 2019: 4.679 2020: 5.015 2021: 5.436, 2022: 5.242, 2023: 6.995, 2024 7.75 Nuriddinov’s portrait of Mirzo Babur vividly captures the deep emotions and contemplations of the ruler, reflecting his struggles and philosophical reflections. By integrating historical and artistic analyses into the curriculum, students can develop a deeper appreciation for their national identity and cultural heritage, ultimately strengthening theirsense ofnational pride. A. Nuriddinov. “Bobur Mirzo” (1996). In another portrait of MirzoBobur, heis depicted holding a pomegranate in one hand while gazing downward at his palms. His entire posture and expression exude deep contemplation. He is once again portrayed beside the throne, emphasizing his introspective nature.The colors in the painting are both light and complex, executed in a manner characteristic of the artist’s unique style. Observing these works, one cannot help but reflect on the profound emotions they convey. Similarly, certain portraits dedicated to theTimuridsevoke the samedepth ofexpression and artistic intent. It is difficult to fully grasp the essence of an artwork with just a single glance. Viewing, analyzing, and revisiting works of visual art multiple times is necessary to uncover the ideas that the artists have embedded within them. A critical approach to the nation's visual heritage is not merely about directly analyzing the past but rather about rediscovering the creative traditions of Central Asian visual art through its unique national characteristics. A. Nuriddinov. “Bobur Mirzo”(1996). In 1996, an exhibition dedicated to the ruler Amir Temur and the Timurids was showcased at the “Xamar” Central Exhibition Hall in Tashkent. The skilled artist Javlon Umarbekov presented oval-framed portraits of Amir Temur and Mirzo Bobur, executed in a refined stylistic manner. Though somewhat symbolic, the portraits were beautifully crafted. Amir Temur’s portrait is depicted from the waist up. The ruler is seated under a lavishly adorned canopy with intricate drapery. His intense gaze and firm expression reveal a mind engaged in deep thought, exuding determination and bravery. The composition is compact, yet its mysterious aura and well-balanced form are evident. As in many of the artist’s works, every element in the painting is thoughtfully resolved. The portrait not only conveys the physical strength of the commander but also reflects his clarity of thought. Amir Temur is depicted wearing regal attire adorned with precious stones. Over his http://www.internationaljournal.co.in/index.php/jasass 329 Volume15Issue04, April2025 Impact factor: 2019: 4.679 2020: 5.015 2021: 5.436, 2022: 5.242, 2023: 6.995, 2024 7.75 shoulders, he wears a luxurious cloak trimmed with black beaver fur, fastened with a clasp made ofprecious metals. J. Umarbekov. "Portrait of Mirzo Babur". 1996. The portrait of Zahiriddin Muhammad Babur Mirzo (1483-1530) belongs to the series of Timurid portraits and was created by artist Aziza Mamatova. Babur Mirzo, the great-grandson of Amir Temur, was born in 1483 in the village of Akhsi in the Fergana Valley, where his father, Umar Shaykh Mirzo, a grandson of Miron Shah, ruled. This portrait provides an emotional and artistic