18 asrda rim san'ati the Italiya Uyg'onish davri

Tarixnoma

 Any unified theory of a renaissance, or cultural overhaul, during the European early modern period is overwhelmed by a massive volume of differing historiographical approaches. Tarixchilar yoqadi Jeykob Burkxardt (1818–1897) have often romanticized the enlightened vision that Italian Renaissance writers have promulgated concerning their own narrative of denouncing the fruitlessness of the O'rta yosh. By promoting the Uyg'onish davri as the definitive end to the "stagnant" Middle Ages, the Renaissance has acquired the powerful and enduring association with progress and prosperity for which Burckhardt's Italiyadagi Uyg'onish davri tsivilizatsiyasi is most responsible.^{[iqtibos kerak]} Modern scholars have objected to this prevailing narrative, citing the medieval period's own vibrancy and key continuities that link, rather than divide, the Middle Ages and the Renaissance.
Elizabeth Lehfeldt (2005) points to the Qora o'lim as a turning point in Europe that set in motion several movements that were gaining massive traction in the years before, and has accounted for many subsequent events and trends in Western civilization, such as the Islohot. Rather than see this as a distinct cutoff between eras of history, the rejuvenated approach to studying the Renaissance aims to look at this as a catalyst that accelerated trends in art and science that were already well developed. Masalan, Danse Macabre, the artistic movement using death as the focal point, is often credited as a Renaissance trend, yet Lehfeldt argues that the emergence of Gotik san'at during medieval times was morphed into Danse Macabre after the Black Death swept over Europe.^[56]
Recent historians who take a more revisionist perspective, such as Charlz Xaskins (1860–1933), identify the hubris and nationalism of Italian politicians, thinkers, and writers as the cause for the distortion of the attitude towards the early modern period. Yilda XII asrning Uyg'onish davri (1927), Haskins asserts that it is human nature to draw stark divides in history in order to better understand the past. However, it is essential to understand history as continuous and constantly building off of the past. Haskins was one of the leading scholars in this school of thought, and it was his (along with several others) belief that the building blocks for the Italian Renaissance were all laid during the Middle Ages, calling on the rise of towns and bureaucratic states in the late 11th century as proof of the significance of this "pre-renaissance." The flow of history that he describes paints the Renaissance as continuation of the Middle Ages that may not have been as positive of a change as popularly imagined.^[57] Many historians after Burckhardt have argued that the regression of the Lotin tili, economic recession, and social inequality during the Renaissance have been intentionally glossed over by previous historians in order to promote the mysticism of the era.
Burckhardt famously described the Middle Ages as a period that was "seen clad in strange hues", promoting the idea that this era was inherently dark, confusing, and unprogressive. Atama o'rta ages was first referred to by gumanistlar kabi Petrarka va Biondo, during the late 15th century, describing it as a period connecting an important beginning and an important end, and as a placeholder for the history that exists between both sides of the period. This period was eventually referred to as the "dark" ages in the 19th century by English historians, which has further tainted the narrative of medieval times in favor of promoting a positive feeling of the individualism and humanism that spurred from the Renaissance.