تحليل جريان‌هاي هنري نقاشي معاصر ازبكستان

Review and Analysis of Art Flows of Contemporary Uzbekistan Paintings

كشور ازبكستان يكي از كشورهاي مهم در عرصه فرهنگي آسياي مركزي است كه به‌ واسطه نقاشي‌هاي چند هزارساله كشف‌شده در محوطه باستاني افراسياب متعلق به قرن 7 و 8 م. و نگارگري مكتب بخارا در قرون 15 و 16 م. جز كشورهاي غني از نظر هنرهاي سنتي، به‌ويژه نقاشي بوده است. همين امر نگارندگان را بر آن داشت تا با فرضيه‌اي مبتني بر وجود نشانه‌هايي از نقاشي و نگارگري با سابقه ازبكستان در نقاشي معاصر، جريانات هنري معاصر نقاشي اين كشور را شناسايي كنند. نقاشي دوره معاصر يكي از صورت‌هاي هنري غالب در كشور ازبكستان است. بنابراين هدف پژوهش حاضر، شناخت و معرفي رويكردهاي متفاوت در عرصه نقاشي معاصر ازبكستان است. لذا پژوهش حاضر در پي جستجوي پاسخ دو سوال اساسي زير است : چه جريان‌هاي هنري در نقاشي معاصر ازبكستان غالب هستند؟ و اينكه اين منشا جريان‌هاي هنري از كدام منابع و سرچشمه‌هاست؟ آنچه در اين مقاله مورد مطالعه قرار گرفت ما را به وجود دو سبك در نقاشي قرن بيستم ازبكستان رساند : 1. نقاشي معاصر با الهام از سنت‌هاي هنري به جاي مانده، به خصوص نقاشي گذشته در ازبكستان كه كاربرد عناصر سنتي و سمبوليك گوياي هويت‌گرايي در اين‌گونه آثار تحت تاثير نقاشي‌هاي مكشوفه محوطه باستاني پنج‌كنت، افراسياب و ورخشا، نقوش منسوجات و نگاره‌هاي موضوعي قرون گذشته ازبكستان است. 2. نقاشي معاصر ملهم از هنر و فرهنگ روسي و اروپاي شرقي و به وجود آمدن هنر آوانگارد در نقاشي قرن بيستم اين كشور با رواج سبك‌هاي رياليسم، امپرسيونيسم، كوبيسم و انتزاع كه علاوه بر نقاشي در طراحي پوستر، تصويرسازي كتاب و در كل به جهت توسعه هنر گرافيك در ازبكستان حايز اهميت و قابل بررسي است. پژوهش حاضر به شيوه توصيفي‌ـ تحليلي به انجام رسيده و در بخش‌هايي از آن بنا به ضرورت تحقيق، مطالعات تطبيقي نيز انجام گرفته است. داده‌هاي اين پژوهش عمدتاً به شيوه كتابخانه‌اي و نيز از طريق سايت‌هاي اينترنتي و مطالعات ميداني مرتبط به دست آمده‌اند.

Uzbekistan is one of the major cultural countries in Central Asia. This country has a history of traditional arts, especially in painting, due to the discovery of Afrasiab archaeological drawings in the 7th and 8th century and Bukhara school in the 15th and 16th centuries. Contemporary art is also one of the most prevailing arts in this country. This study seeks to identify different styles of contemporary Uzbekistan paintings. Twentieth-century Russian culture and art of Uzbekistan with regard to the impact on the evolution of traditional and modern painting are also achieved. Ancient art of Uzbekistan is extremely valuable, especially in the field of painting and has had a special place in the history of Islamic art. Bukhara Miniature (Uzbek painting) are formed simultaneously with the late Timurid Herat after school thrived in the 15th and 16th centuries; Central Asia and Transoxiana, miniature painting, and so is the school. The name of the artists that have a significant impact on the Bukhara school of painting, can be “Kamal al-Din Behzad,” noting that the continuation of his paintings and drawings together with local characteristics has made total of Bukhara painting. Another group of contemporary artists, including Uzbekistan, Uzbek and Russian artists influenced by modern art and culture of the Russian Communist regime in the country have developed the tendency of Western painting styles in categories such as Real, impressionism, cubism, abstract and contemporary paintings over other styles that became popular in Uzbekistan. According to the studies of this paper, two approaches to the art of the twentieth century in Uzbekistan are revealed: 1.Contemporary paintings are inspired by the paintings of artistic traditions, especially in Uzbekistan and the symbolic use of traditional elements as well as the identity of these works. 2.Contemporary paintings are inspired by the art and culture of Russia and East Europe and the creation of avant-garde art in the twentieth century paintings in poster design, book illustration and graphic art of Uzbekistan. The paintings inspired by the artistic traditions of Uzbekistan in the twentieth century that are painted in oil on canvas, are introduced in graffiti and painting exhibitions and fashion with an emphasis on traditional clothing for women. In addition, some important aspects of the image reflected in paintings by contemporary artists are influenced by discoveries in archeological Uzbekistan Afrasiab sites, and Panjakent and Varakhsha by many visual motifs of Sassanid art, Hindi, Chinese paintings and Buddhist icons. In another group of paintings, according to the identity-oriented lacquer paintings, it can be grasped that the hypothesis of the present paper is based on the signs of the historic painting to be proved in contemporary Uzbekistan painting. Research method of this paper is descriptive-analytical and in some parts of it, necessary comparative studies have been conducted. Data used in this research are gained through library research and Internet sites and field studies have been conducted as well. Notable books about Uzbekistan painting written in is not available Persian language. Given the history of Uzbekistan painting, identity-oriented discussion in contemporary painting has been is highly considered in this field. Undoubtedly the preservation and conservation of “Igor Savitsky” Museum of avant-garde art in the twentieth century in Uzbekistan has to be taken into consideration where the most important avant-garde artworks of artists of Uzbekistan, Russia and Pakistan have been collected while the government had not considered it for several years. Our researchers need to consider more serious studies in the Central Asian region due to many similarities in culture and art.