According to historical accounts, the tradition of art collecting by bankers began with the Florentine Medici family, who utilized works by renowned artists such as Michelangelo, Donatello, and Botticelli to address political, economic, and social challenges.

In the modern era, several prominent financial institutions are actively involved in supporting art and culture. These include Bank of America, The Chase Manhattan Bank (USA), Deutsche Bank (Germany), UniCredit Group (Italy), ABN AMRO Bank (Netherlands), the Central Bank of the Republic of Türkiye, Sovcombank (Russia), and TBC Bank (Georgia), among others.

We are proud to highlight that National Bank of Uzbekistan is among these esteemed institutions that collect and sponsor art. The bank’s journey into fine art and numismatic collections began in 1994, during a challenging transition period when many artworks were leaving Uzbekistan, creating an urgent need to preserve the nation’s cultural heritage. In response, the National Bank began acquiring works by contemporary Uzbek artists, as well as pieces from earlier historical periods.

Today, the collection of the National Bank of Uzbekistan is unparalleled among Uzbekistan’s museums, particularly in its representation of contemporary art from the country’s independence era. Of special note is the bank’s numismatic collection, which features valuable Central Asian coins spanning from ancient times to the present. According to Academician E. Rtveladze of the Academy of Sciences of the Republic of Uzbekistan, the National Bank’s numismatic collection is second only to the British Museum’s in its representation of Central Asian coins. Over the past 30 years, the bank’s collecting focus has expanded to include medieval manuscripts and examples of Uzbekistan’s decorative and applied arts.

A significant milestone in the country’s cultural life was the construction of the Gallery of Fine Arts of Uzbekistan by the National Bank, which opened its doors in 2004. Over the past two decades, the gallery – commonly referred to as the Gallery of the National Bank – has evolved into more than just an exhibition space. It has become a leading cultural, exhibition, and research center, not only in Uzbekistan but also across the Central Asian region.

A significant aspect of the National Bank of Uzbekistan’s support for the arts has been its publishing activities. Over the years, the bank has published eight catalogs showcasing its fine art collection, four catalogs on numismatics, and several scientific works by Academician of Academy of Sciences of the Republic of Uzbekistan E. Rtveladze. Recently, the bank decided to revive its publishing efforts and prepared an updated catalog of its collection. This new edition includes both previously documented works and newly acquired pieces in painting, graphics, and sculpture.

The National Bank’s collection of paintings, graphics, and sculptures has been developed over the past 30 years and continues to grow with unique works of national art. To some extent, the collection offers a way to trace the evolution of Uzbekistan’s fine arts, from their origins to the present day. Each piece featured in the catalog holds unique value, not only for understanding the work of individual artists but also for studying specific historical stages of art development.

For instance, the collection includes works by early 20th-century Russian artists, many of whom were students of the St. Petersburg Academy of Arts. Pieces by S. Yudin, L. Bure (a native of Samarkand), and P. Benkov reflect an ethnographic realism that allowed these artists to masterfully depict architectural monuments, scenes of everyday life, traditional customs, and the ethnic and religious culture of the region’s indigenous peoples. While the National Bank’s collection may not include prominent works of the Turkestan avant-garde like those found in the State Museum of Arts of the Republic of Karakalpakstan named after I. Savitsky, it does feature exceptional graphic works from the 1920s and 1930s by A. Nikolaev (Usto-Mumin), V. Ufimtsev, and R. Falk.

In addition, the collection boasts remarkable works from later periods by avant-garde artists such as A. Volkov, N. Kashina, Z. Kovalevskaya, O. Tatevosyan, U. Tansykbaev, N. Karakhan, and V. Eremyan. These pieces are essential for a comprehensive study of their artistic contributions. The collection also includes a valuable work by B. Hamdami, the first national artist of Uzbekistan, who tragically passed away during the war. His piece, dedicated to the Jadid reformer Usman Nosir, is particularly significant.

In the second half of the 1950s, realism became the dominant trend in the fine arts of Uzbekistan, revitalized by the creative explorations of academic artists such as A. Abdullaev, R. Akhmedov, N. Kuzybaev, M. Saidov, T. Oganesov, V. Zhmakin, and Yu. Elizarov. While their works are recognized as the golden legacy of Uzbekistan’s art history, they also reflect the spiritual and cultural struggles of their era. For these artists, the search for national identity was expressed through national portrait types, genre scenes, and landscapes that captured the essence of Uzbekistan.

However, during this period, there was also art of a different nature, often addressing significant social issues (for instance, N. Shin’s work tackled themes such as Stalin’s repressions and the genocide of the Korean people). Despite its profound social relevance, this type of art was excluded from the framework of official artistic culture. Fortunately, Shin’s remarkable works are part of the bank’s collection. The collection also includes works by the renowned Uzbek artist Ch. Akhmarov, whose pioneering efforts laid the foundation for a national school of painting inspired by Uzbekistan’s centuries-old tradition of miniature art.

The 1960s marked a period of experimentation in Uzbekistan’s art scene, with artists searching for new forms of expression and embracing entirely different approaches to plasticity and artistic generalization. This era saw the emergence of pluralism, with various artistic trends flourishing simultaneously. The realistic tradition continued to thrive in the works of A. Abdullaev, R. Akhmedov, V. Zhmakin, Z. Inogamov, M. Saidov, Yu. Elizarov, T. Oganesov, and others.

The art of Uzbekistan during the 1970s and the first half of the 1980s is characterized by a rich diversity of artistic and stylistic trends, mutual influences, and a broad engagement with different traditions. This period saw the evolution of genre structures, the expansion of thematic content, and the emergence of a variety of creative voices. The decorative trend gained prominence in the works of Y. Taldykin, E. Melnikov, T. Pirmatov, S. Abdullaev, and Sh. Aydarov. At the same time, associative-metaphorical artistic thinking began to flourish, revealing its potential through the unique worldviews and creative approaches of individual artists. Notable examples include the works of J. Umarbekov, B. Dzhalalov, M. Tokhtayev, V. Akhunov, S. Alibekov, G. Baimatov, A. Isaev, and Zh. Izentayev.

The academic trend also continued to develop during this period, represented by artists such as A. Ikramdzhanov, S. Rakhmetov, and M. Nuriddinov. However, this style gradually acquired a more intimate, chamber-like, or decorative character, reflecting the evolving artistic landscape of the time.       

Contemporary fine art in Uzbekistan is a vibrant mosaic, composed of the diverse talents of its artists. The work of contemporary Uzbek artists reflects a cross-section of various artistic schools, traditions, and creative explorations, collectively forming the national identity of modern Uzbek culture. In the works of some artists, the deep-rooted national characteristics of centuries-old traditions are strongly felt. In others, the influence of both the global artistic practices of the 20th century and modern realities is evident.

The realistic trend in contemporary Uzbek art remains strong, represented by the works of S. Abdullaev, A. Ikramjanov, S. Rakhmetov, T. Rakhmetov, M. Nuriddinov, H. Mirzaakhmedov, V. Enin, M. Tashmuradov, A. Mirsagatov, A. Alikulov, A. Atabaev, V. Troshina, and others. This style has evolved, acquiring a more intimate, chamber-like character. Meanwhile, the decorative trend continues to flourish in the works of A. Mirzaev, I. Shin, R. Gagloeva, I. Mansurov, R. Shadyev, L. Sadykova, Ya. Salpinkidi, R. Khudaibergenov, S. Rakhmanov, B. Nazarov, V. Gubskiy, O. Zalevskaya, and A. Ivanova.

At the same time, associative-metaphorical artistic thinking is gaining prominence, revealing its rich potential through the unique worldviews and creative approaches of individual artists. This style, refracted through each artist’s personal vision, can be seen in the works of J. Umarbekov, B. Dzhalalov, A. Isaev, B. Ismailov, M. Karabaev, R. Akramov, Sh. Abdumalikov, G. Abdurakhmanova, M. Antonov, and others.

The generation of Uzbek artists who emerged or found their unique styles in the 1990s is characterized by a deep connection to tradition. For these artists, tradition is not only reflected in stylistic features but also in a profound moral and spiritual connection to their homeland, culture, and people. This can be seen in the works of L. Ibragimov, A. Nur, G. Kadyrov, N. Imamova, M. Isanov, F. Akhmadaliev, B. Makhkamov, H. Ziyakhanov, Sh. Khakimov, Sh. Abdullaeva, D. Rakhmanbekova, M. Karabaev, I. Valikhodjaev, G. Ibragimov, E. Kulmanov, and others.

The art of the 20th century is often described as synthetic, as it combines the traditions, styles, and schools of various peoples and eras while still reflecting the worldview of the modern individual. This synthesis is evident in the works of N. Shoabdurakhimov, B. Ismailov, S. Kurtjemil, T. Akhmedov, I. Sandler, A. Tyurin, M. Karabaev, I. Valikhodjaev, R. Akramov, M. Antonov, F. Gambarova, L. Dabizha, B. Mukhamedov, J. Adylov, S. Jabbarov, D. Razikov, T. Lee, and others. These artists successfully revive themes and styles from European art across different periods, creating a unique synthesis of Eastern and Western influences. Their work represents a fusion of the typological features of the academic art school and modernism, forming part of a universal, transnational culture that resonates globally.

The 20th century also expanded the boundaries of interpreted traditions, incorporating the cultures of various peoples and historical eras into the creative process. In this context, contemporary Uzbek artists exhibit a ‘planetary consciousness’, where the distinctions between ‘one’s own’ and ‘the other’ become blurred.

It is also important to note that the fine arts in Uzbekistan are not concentrated solely in Tashkent but thrive across the country’s regional centers. Cities like Samarkand, Bukhara, Khorezm, and Karakalpakstan are home to vibrant cultural hubs where artists engage in fascinating creative explorations. For example, the works of Bukhara artists Z. Saidzhanov, M. Abdullaev, and V. Barnoev are notable for their originality. Samarkand artists such as A. Isaev, T. Esanov, T. Erkulov, and N. Kalanov, as well as Khorezm artist O. Allabergenov, also make remarkable contributions. Karakalpakstan artists, including J. Kuttymuratov, J. Izentaev, S. Baybasinov, B. Serekeyev, D. Tadjimuratov, and S. Sabirbaev, along with Namangan artist M. Tadzhimirzaev and Fergana artist A. Rakhimov, enrich the artistic landscape of Uzbekistan. It is gratifying to note that many of their works are also represented in the National Bank’s collection.

The collection of NBU JSC also includes sculptures by talented Uzbek artists such as A. Baymatov, D. Ruzybaev, A. Khatamov, J. Mirtadzhiev, T. Tadzhikhodzhaev, J. Kuttymuratov, S. Sharipov, and others. Their creative works are characterized by a focus on national and universal themes, a search for new expressive and plastic forms, enriched figurative expression, and high professionalism. These artists have imbued easel sculpture with a certain ‘picturesqueness’ and plasticity, which resonates with the conveyance of emotional states, psychological moods, inner experiences, and subtle movements of the soul. Their works reflect a deep connection to their native land, its culture, and traditions, while also exploring a wide range of associations, soft plasticity, and the pursuit of national identity. This is evident in their choice of subjects and forms, as well as in the overall optimistic tone of their creations.

The avant-garde movement in Uzbek sculpture is also thriving. Artists such as M. Borodina, R. Avakyan, B. Mukhtarov, V. Popov, A. Ovsepyan, M. Ablakulov, T. Yarkulova, L. Nesterovich, T. Esanov, A. Isanoliev, K. Norkhurozov, A. Avakyan, and U. Urakov are notable for their innovative approaches. Their works are marked by a search for new expressive methods, the use of non-traditional materials, and a high degree of abstraction in conveying figurative content.

Another significant trend in the development of Uzbek sculpture is the folklore-inspired style, which interprets traditional oral folklore themes with a touch of gentle humor. This trend is represented by Bukharan artists such as K. Norkhurozov, U. Urakov, and K. Gulov, as well as Tashkent artist G. Sultanova. Among the unique sculptors of Uzbekistan during the independence era is Karakalpak artist J. Kuttymuratov. His diverse and captivating works are deeply rooted in folk art while simultaneously resonating with the rhythms of modernity.

In addition to sculpture, graphic art has also developed significantly during the period of independence, with contributions from artists such as T. Mukhamedov, V. Apukhtin, M. Kagarov, L. Ibragimov, N. Kholmatov, A. Ponomarev, I. Vakhidov, A. Li, A. Bobrov, O. Allabergenov, A. Mamadzhanov, M. Sadykov, P. Annenkov, D. Mirsalimov, D. Akhunbabaev, G. Sultanova, M. Fozili, D. Rakhmanbekova, R. Azizov, and others. The works of Uzbek graphic artists demonstrate immense thematic, genre, and stylistic diversity. However, in the past two decades, traditional graphic techniques such as lithography, linocut, etching, and woodcut have almost disappeared. This decline is partly due to the fact that many graphic artists have transitioned to painting. More broadly, a defining feature of the modern era has been the blending of different types of fine art. For example, some painters are now exploring sculpture and contemporary art, graphic artists are actively engaging in painting, and theater and film artists are venturing into the realm of design. This cross-disciplinary experimentation has become a hallmark of the contemporary stage of fine art development.

The collection of works at NBU underscores the idea that the history of art is not only rooted in the past but continues to evolve in the present. The collection is regularly enriched with new works and new names, reflecting contemporary trends in life and art.

A few words must also be said about the activities of the Gallery of Fine Arts of Uzbekistan, which operates under the National Bank. Over the past 20 years, the Gallery has hosted more than 500 exhibitions of both national and international art, including 150 personal exhibitions and 350 collective projects. From its inception, the Gallery has pursued two main objectives in its exhibition activities: promoting the masterpieces and unique talents of national art and introducing the public in Uzbekistan to the art of other countries. Almost all personal exhibitions of Uzbekistan’s leading artists have been held in the Gallery. Joint projects with prominent museums across Uzbekistan have also been organized, showcasing the best works from their collections.

The Gallery plays a vital role in celebrating national holidays such as Navruz and Independence Day, preparing special exhibitions that highlight both the historical and cultural heritage of Uzbekistan and its contemporary creativity. Through its dynamic and diverse activities, the Gallery continues to serve as a cultural hub for the nation and the region.

Cooperation with foreign embassies from Azerbaijan, Bulgaria, Great Britain, Germany, Israel, Italy, Kazakhstan, China, Korea, Kyrgyzstan, Turkey, Russia, the USA, France, and Japan has been highly productive. The Gallery of Fine Arts has hosted unique exhibition projects in collaboration with international organizations such as the Goethe Institute in Tashkent, the British Council, the Swiss Bureau for Development and Cooperation, the Representative Office of Rossotrudnichestvo, the Exchange and Cooperation Center of the China Foundation for International Affairs, the French Institute named after Victor Hugo, the Konrad Adenauer Foundation, the Charles de Gaulle Foundation, the Uzbek-Japanese Center, and others.

The Gallery has also served as a venue for major international art events, including the Tashkent International Biennale of Contemporary Art, the Tashkent International Biennale of Decorative and Applied Arts, and TURKSOY exhibitions. Through these partnerships, Uzbek audiences have had the opportunity to engage with historical and contemporary art from around the world. The Gallery has showcased works by some of the most renowned artists of the 20th century, such as Otto Dix, Max Ernst, Günther Uecker, and Wols (Germany), Damien Hirst and Sarah Lucas (Great Britain), and artists of the Arte Povera movement (Italy), among others.

The exhibition projects organized by the Gallery reflect both the historical past and the modern present. Furthermore, the Gallery, and by extension the National Bank, actively participates in socially significant cultural initiatives. These include projects supporting the creativity of children from orphanages, children with disabilities, and various environmental, informational, and educational programs, as well as youth and children’s exhibitions. Notably, the Gallery hosts a children’s studio and has established the youth creative group ‘5+1’, which works actively to foster young talent.

Over the past 30 years, the cultural activities of the National Bank of Uzbekistan have been both impactful and effective, contributing significantly to the cultural development of Uzbekistan. This foundation of success paves the way for new ideas and exciting future projects.

  

Kamola Akilova

Academician of the Academy of Arts of Uzbekistan,

Doctor of Art History, Professor