Asian Research Journals
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76
Special
Issue
its resolution. He had a selective use of various tools”
4
. Nikolayev's paintings “Chol nabirasi
bilan 1945-yilda” (“The old man with his grandson in 1945”) and “Otalar yurti” (“Fatherland”)
represent the end of World War II according to their ideological solution. Not only does the latter
painting illustrate the joy of a soldier who survived the war, but it also honors the soldiers who
did not return from battle. Besides that, the serious facial complexion of the old man and the
dove on the child’s hands are referred as symbols of peace and protection for people who looked
forward to peace in the painting “Chol nabirasi bilan”. The village, the house, two poplars, black
cloud covering the sky, sunset on the background was skillfully painted.
A. Nikolaev was a fruitful artist in the field of painting. He also worked on many applications for
Hodja Nasreddin's stories. For example, if the images of Afandi's anecdotes show liveliness in
the behavior, From his "Navro’z" (Navruz) and "To’y" (Wedding) panels, it is clear that he also
made a detailed sketch drawing. No matter on what topic does he create, it is as if he experienced
that event and feelings. The main feature of Master Mumin's works is that the composition of the
work is expressed in a delicate, lyrical mood.
Nikolayev's color choice is also noticeable. For example, in the “Bahor” (“spring”) image, she
used bright colors in both white fabric and children's clothing, and the poplars were depicted
with delicate color. The tree trunk is represented in a compositional combination with the images
of different plants (ivy and grass) and children in the work. The artist's work, “Bedana ushlagan
bola” (“The boy holding a quail”), shows an active role in solving the color problem. The image
of a blue sky, a child with browned facial complexion with a quail embodies the social
atmosphere of that time. Although Nikolaev worked for a while in the watercolor, he created
some of his most productive works. In such works as “The old school”, “In the museum”, “The
ridge”, “Hodja Nasreddin is in bazaar”, it is clear that he possessed watercolor techniques.
CONCLUSION
In short, Master Mumin's work is versatile and rich in national character. His wallpaper,
watercolor, book graphic, and theatrical painting are all noticeable in his style. His creativity is
reflected in his love for the Orient, his homeland. During his 30 years in Uzbekistan, the artist
has made a significant contribution to the development of Uzbek fine art. Till the end of his life
he lived in Uzbekistan and never stopped creating.
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