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The Concept of Gallery’s Exhibition

The Fine Arts Gallery of Uzbekistan was opened by the President of the Republic of Uzbekistan in 2004 on the eve of Independence Day. The Gallery has a collection of paintings, graphics and numismatics of the National Bank of the Republic of Uzbekistan for Foreign Economic Activity.

The Gallery has a rich collection of fine art from the XXth century Uzbekistan including all periods, schools, directions and works of leading artists.

The Gallery's numismatic collection, which includes coins circulating in Central Asia from antiquity to the present day, is of great historical, cultural and scientific value.

Currently, the Gallery's collection of paintings and graphics has more than 1,900 exhibits, and the numismatics collection amounted to 2,500 unique coins. The National Bank of the Republic of Uzbekistan for Foreign Economic Activity published 8 Fine Art catalogs, 4 numismatics catalogs and several scientific investigations.

The Gallery is mainly engaged in wide introduction of public with the rich artistic culture of our country and the art of foreign countries.

The Gallery building is a unique facility meeting all modern requirements of world museum practice with no analogue within Central Asia. Over and above the large exposition and exhibition area (3,500 sq.m) including 15 halls, the Gallery has a museum depository equipped with the latest technologies, a conference hall, restoration shop and children's crafts school.

During operation period, the Gallery hosted various large-scale cultural events both of regional and international value.

Currently, the Gallery is a kind of cultural center known not only in the republic, but also abroad. Foreign guests and specialists highly appreciated the Gallery and its work as one of the facilities visited by official delegations.

Fine arts in Uzbekistan of the XX century: main stages, directions, personalities

Fine art in Uzbekistan of the XX century is an amazing phenomenon with a special place in the world art culture of the century. During its development, it was the subject to some stages providing the features of historical, socio-economic, cultural development. Despite the fact that European easel art appeared in Uzbekistan at the beginning of the XX century, its fine art origins are lost in ancient times. The monuments of historical painting, the art of medieval miniature, Uzbekistan's decorative and applied arts incorporate an unrivaled creative genius that embodies unique worldview, philosophical, substantial, poetic, artistic and stylistic traditions. The evolution of art of Uzbekistan of the XX century discloses the main global fine art directions. However, the understanding, preservation and development of historical and cultural heritage and national artistic traditions remains an important dominant idea defining its substantial, scholastic and plastic potential. This factor determines the identification of its national identity.

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1st floor

Subject of exposition: The origins of national art school in Uzbekistan in the early XX century

At the beginning of the XX century, general Europeanization of regional culture provides formation of easel painting of Uzbekistan as one of European culture types. The paintings of newcoming Russian artists, mainly pupils of the St. Petersburg Academy of Arts S. Yudin, L. Bure, I. Kazakov, etc. develop “ethnographic” direction, where cities and life, material culture and the history of Uzbekistan appear more like exotic. The devotion of Russian artists to the magnificent beauty of architecture and brilliance of Uzbekistan's eastern life reflects the process when all European culture, as never before, was attracted with the East in the late XIX -early XX centuries. The traditional East allured with its preserved immediacy and purity of morals, harmony with nature and sublime traditional spirituality. Uzbekistan enriched the palette of Russian artists. The following period generally enriched their semantic, artistic and plastic searches.

In 1920s, a school of Uzbek national painting came into being. This period coincided with the European culture development when anthropocentrism dominated in the art begins to crash. Artists expressed their rejection of the prevailing bourgeois civilization and culture as a whole. They rejected mercantile relations, life standardization, rationality and reasonableness, hypocrisy, false beauty covering up the true ugliness of reality. Therefore, their creative endeavours focused on recklessness as opposed to rationality, on irrationality in spite of rationality, on subjectivity as opposed to objectivity. The artists looked for new expressive means to reveal secret, hidden, more significant than visible. When searching unusual expressive means, they turned to the disharmony of images, colors, rhythms, compositions. They searched for new artistic means, which were later designated as Avantgarde. The works of A. Volkov, A. Nikolaev, N. Karahan, V. Ufimtsev, N. Kashina, O. Tatevosyan, U. Tansykbaev, P. Benkov, V. Eremyan, Z. Kovalevskaya, M. Kurzin, A. Podkovyrov express some highly professional Avantgarde in 1920s. However, that was an Avantgarde with a certain foundation, i.e. the stable traditions of Uzbekistan's centuries-old culture. It is the understanding of traditional art poetics and its deep sacred quest of previous centuries emphasizes the Avantgarde Uzbekistan's pictorial art of 1920s as the unique global artistic phenomenon. The works of the above-mentioned artists reflected not only European movements: Cubism, Expressionism, Abstractionism, etc., but also the traditions of historical monumental painting, the art of miniature painting, traditional decorative and applied art of Uzbekistan.

Subject of exposition: Fine art of Uzbekistan in 1930-1950s

In the 1930s, the totalitarian system approved the only permitted method actually being the art movement reflecting socialist realism, which destroyed the achievements of the previous decade. There was a violent breakdown of creative thinking. The aesthetics lost the concept of artistic freedom. The art's purpose for society was primitively understood. However, it would be prejudiced to assess the art of Uzbekistan in 1930-1950s single-valued. This period was marked with the works of such genuine masters of art like A. Volkov, N. Karakhan, N. Kashina, P. Benkov, B. Hamdami, A. Abdullaev, Ch. Akhmarov, Sh. Khasanova, U. Tansykbaev, who tried to bypass cannons of socialist aesthetics through the stylistic dominants, development of the national tradition, the search for personality concept within a difficult historical period. The second half of the 1950s was marked by the triumph of realism in Uzbekistan's fine art, which was updated by the creative search of academic artists R. Akhmedov, N. Kuzybaev, M. Saidov, T. Oganesov, V. Zhmakin, Yu. Elizarov, L. Reznikov, A. Gan, R. Timurova, G. Tkachev, Z. Inogamov, M. Kalantarov, B. Brynskykh, V. Kovinin, graphic works by V. Kaydalov, K. Cheprakov. When recognizing, that their works constitute the golden foundation of Uzbekistan's painting history, one cannot but state that their creative searches also reflect the spiritual searches of a particular era. The search for national originality in the concepts of these artists is identified with national portrait types, genre scenes, national landscapes. It was an interpretation of national originality that was determined by the official aesthetics being embodied in various national schools. That period was also marked by art of dissimilar nature with a great social acuteness (for example, N. Shin’s work on the themes of Stalin’s repressions, genocide of the Korean people). However, it was excluded from the official art culture.

Subject of exposition: The search for new ideas and shapes in Uzbekistan's art in 1960s

1960s involve a search for new breadth and approval of completely different plastic ideas. This period is marked with a certain pluralism of various artistic trends in Uzbekistan's painting. The works of the following artists develop realist trend: R. Akhmedov, V. Zhmakin, Z. Inogamov, M. Saidov, Yu. Elizarov, D. Imamov, V. Zorkina, L. Salimdjanova, Yu. Strelnikov, B. Tokmin, A. Baymatov, A. Rakhmatullava, Kh. Khusnitdinkhodjayev, K. Basharov, M. Kagarov, etc. Regional process of national art schools establishment attaches the particular significance to national originality in art subject to understanding not only within everyday reality, but also within expression of universal significance, a deep understanding of traditional artistic heritage. This stimulates the search for ornamental style as a genetic continuity with a centuries-old cultural heritage. This trend was reflected in the works of Ch. Akhmarov, N. Kashina, G. Ulko, R. Charyeva, V. Burmakin, Yu. Taldykin, Ye. Melnikov, R. Timurov, T. Pirmatov, A. Mirsagatov, N. Shin, etc.

The 2nd floor

Subject of exposition: The search for new ideas and shapes in Uzbekistan's art in 1960s

Uzbekistan's painting in 1970s s distinguished by the diversity and mutual influence of artistic and stylistic trends, address to a wide range of traditions, the evolution of genres, a wide thematic circle, a variety of creative manners. The ornamental trend was developed by Sh. Abdurashidov, A. Mirzaev., R. Shadiyev, R. Gagloyeva, Yu. Taldykin, Ye. Melnikov. At the same time, one cannot but state that increasing metaphorical and associative artistic thinking reveals its inner potential in the work of various artists refracting in each case through their individual outlook and pictorial and plastic searches. For example, the works of J. Umarbekov, B. Dzhalalov, M. Tokhtaev, V. Akhunov, A. Isaev, I. Izentayev, T. Mukhamedov.

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Subject of exposition: Uzbekistan's art in 1980s with a view to a search of national originality

This period was marked by the academic trend in the works of S.Abdullayev, A. Ikramjanov, S. Rakhmetov, M. Nuridinov, T. Mirjalilov, Kh. Mirzaakhmedov, J. Rakhmanov, S. Rakhmanov, M. Tashmuradov, A. Yusupov, A. Yunusov, A. Khatamov, I. Vakhitov, A. Ponomarev, M. Sadykov, etc., which became chamber or more ornamental in some way. The continuity of generations, deep spiritual searches, comprehension of the previous creative achievements is also distinctive for the generation of Uzbek artists who came to art or found their own style within the second half of the 1980s and early 1990s. The works of L. Ibragimov, A. Nur, G. Kadirov, N. Imamov, M. Isanov, F. Akhmadaliyev, B. Makhkamov, Sh. Kuziyeva, O. Kozokov addressed to the tradition not only as to certain stylistic features, but as to moral, spiritual connection with the native land, people, culture, psychology, mentality. At the same time, the works of A. Krikis acquired the Avant garde trend; own chamber world with a certain genre-thematic and stylistic orientation distinguishes the searches of I. Shin.

Subject of exposition: Modern fine art of Uzbekistan within Independence period

The 1990s are marked by the further development of achievements of Uzbekistan paintings previous stages. The establishment of the Academy of Arts of Uzbekistan in 1997 was significant for enhancement of artistic life, raising of creative intelligentsia status, wide promotion of Republican fine arts abroad, integration of our arts in the world cultural space and the support of various artistic trends and styles in the modern art. Besides the older and middle generation of artists, new names of young painters are revealed. They represented and developed various creative trends: realism, ornamental trend, associative and metaphorical, the Avant garde and postmodern trends. This large list includes: D. Ruzybayev, K. Norkhurazov, U. Urakov, N. Imamov, J. Umarbekov, B. Jalalov, A. Mirzayev, L. Ibragimov, A. Nur, G. Abdurakhmanov, A. Allabergenov, V. Apukhtin, J. Usmanov, A. Nikolayev, B. Yuldashev, B. Ismailov, Sh. Abdullayev, N. Shoabdurakhimov, G. Sultanov, Sh. Pirmatov, S. Kurdzhemil, M. Karabayev, V. Enin, B. Obidov, T. Karimov, V. Nechayeva, A. Ligay, B. Mukhtarov, T. Tojikhojaev, etc.

This period was marked by specific development of Uzbekistan's photographic art. This hall will present the works of Uzbek photo artists: T. Kuziyev, V. Sokolov, U. Akhmedova, V. Ana, V. Vyatkin, A. Shepelin, E. Kurtveliyev, etc.

Subject of exposition: Numismatics art in Central Asia as an important part of historical and cultural heritage

 Uzbekistan is one of the few regions all over the world, where the high civilization provided early exchange relationships. Already in the IV-III centuries BC, there is a circulation of Seleucid and Greco-Bactrian coins, and since the beginning of the III century BC, the first coins issued in Sogdiana by local rulers are minted. Therefore, the history of monetary business in Uzbekistan has more than 2,300 years. Its establishment involved Bactrian and Sogdian coins and its current state is imprinted in paper signs and coins of the Republic of Uzbekistan. Throughout this long period, the historical and cultural regions, ancient and medieval cities of Uzbekistan minted metal and various emissions of copper, silver and gold coins of various denominations.

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These coins tell us not only about the development of monetary relations from period to period, but also make us understand the unknown chapters of our history and forgotten dynasties, the outstanding skill of portrait masters and calligraphers, who imprinted elegant letters on coins. They tell us about scripts existing long before the Common Era in various regions of Uzbekistan - Bactria, Sogdiana, Khorezm, which were used for inscriptions on coins. The numismatic exposition of the Fine Arts Gallery of Uzbekistan contains samples of coins of Central Asia from IV century BC to the beginning of the 20th century, including various historical periods: antiquity, early Middle Ages, the Temurids Era, late Middle Ages, XIX-early XX centuries.

There are photos of archaeological sites, where coins were found on the walls.

Kamola Akilova,
Doctor of Art Criticism



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License of the Central Bank of the Republic of Uzbekistan No. 22 dated Feb. 15, 2020
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