Translation faculty department: english language translation theory

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High spirituality is an invincible force. .Karimov I.A. –Tashkent .: Manaviyat, 2008. -176 p. 

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is because culture is a multifaceted, complex, spiritual social phenomenon,
encompassing all aspects of human and social life. Definitions of culture have 
aspects that generalize the views of the authors. In particular, to summarize them, 
culture is a system of material and spiritual wealth created by human activities in 
the field of economic, social, political and spiritual life of society, produced to meet 
their needs. It seems that culture represents the activity of man in the creation and 
assimilation of material and spiritual wealth. It is the product of human intellect, 
talent and hard work. As mentioned above, culture is a very complex multifaceted 
spiritual and social phenomenon, encompassing the material, technical, economic, 
socio-political and other spheres of social life, all the fruits of human labor. After 
all, all the material and cultural-spiritual riches created by the masses of the people 
belong to culture. Culture refers to the creation and use of tools of labor, scientific 
and technical achievements and their introduction into production, production and 
social skills of people, social organization of labor, health care, the level of 
knowledge and information among the population, general compulsory and higher 
the implementation of education, works of literature and art, social, philosophical, 
religious ideas, and so on. Culture encompasses everything up to the highest peaks 
of the human mind. It includes not only the material results of human activity, but 
also the wealth of knowledge, experience, abilities, production and professional 
skills, relationships that occur in the process of labor.
Depending on the two practical types of material production of society, 
material and spiritual production, culture is also divided into two major types, 
material and spiritual culture. By material culture we mean the tools of labor, the 
skills of labor, as well as all the material wealth created by man in the process of 
production and serving for material life. Material culture includes the whole set of 
material wealth, the means of their production: machinery, technology, technical 
facilities created in the process of production, the form of organization of social 
labor, the establishment of construction and agriculture, and others. Based on this, 
we divide material culture into a number of types. For example, the culture of 

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production and technology, the culture of agriculture, the culture of labor 
organization, the culture of engineering, the culture of cooking and so on. 
The second type of culture is spiritual culture. Spiritual culture includes the 
activities of the human mind and spiritual creativity and their results. Spiritual culture is 
the world of external and internal spirituality, the psyche of man, which consists of the 
sum of science, philosophy, art, literature, ethics, religion, law, politics, education, 
enlightenment, and so on.
Culture is a universal phenomenon. He is equal to all. For example, statuses, literature, 
architectural masterpieces, scientific and technical achievements, means of transport and 
communication all belong. In the same way, spiritual culture becomes national and 
universal.
National spirituality, culture as a historical phenomenon is not perfectly formed in a 
day, a year, or even a century. The beginnings of the spiritual and cultural history of the 
peoples of Central Asia are steeped in the depths of centuries, and it is quite a difficult 
task today to determine whether they have traversed the steps of spiritual maturity for 
thousands of years.
It is worth recalling that in the days when some kingdoms were inhabited by tribes, 
science flourished in our blessed land, natural sciences, in particular, medicine, 
mathematics, astronomy, were taught in madrassas, scientific academies were established 
and spread to the west and east. 
During the Soviet period, the government gave extensive support to the arts, building 
cultural centers in every city and paying the salaries of professional artists. With 
independence, state funding has shrunk, though it still makes up the bulk of arts funding. 
Many dance, theater, and music groups continue to rely on the state, which gives 
emphasis to large productions and extravaganzas, controls major venues, and often has 
an agenda for the artists to follow. 
Other artists have joined private companies who perform for audiences of wealthy 
business-people and tourists. Some money comes in from corporate sponsorship and 
international charitable organizations—for example UNESCO and the Soros 

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Foundation's Open Society Institute. Yet many artists have simply been forced to find 
other work. 
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The territory of Uzbekistan has a long tradition of writers, though not all were 
Uzbek. The fifteenth-century poet Alisher Navoi, 1441–1501, is most revered; among his 
works is a treatise comparing the Persian and Turkish languages. Abu Rayhan al-Biruni, 
973–1048, born in Karakalpakistan, wrote a massive study of India. Ibn Sina, also known 
as Avicenna, 980–1037, wrote The Cannon of Medicine. Omar Khayyam, 1048–1131, 
came to Samarkand to pursue mathematics and astronomy. Babur, 1483–1530, born in 
the Ferghana Valley, was the first Moghul leader of India, and wrote a famous 
autobiography. 
Until the twentieth century, Uzbek literary tradition was largely borne by bakshi, 
elder minstrels who recited myths and history through epic songs, and otin-oy, female 
singers who sang of birth, marriage and death. 
The Jadids produced many poets, writers, and playwrights. These writers suffered 
greatly in the Stalinist purges of the 1930s. Later the Soviet Union asked of its writers 
that they be internationalists and further socialist goals. Abdullah Qahhar, 1907–1968, 
for example, satirized Muslim clerics. But with the loosening of state control in the 1980s, 
a new generation of writers renewed the Uzbek language and Uzbek themes. Many 
writers also were active in Birlik, which started as a cultural movement but is now 
suppressed. 
Graphic Arts. Uzbekistan has begun a revival of traditional crafts, which suffered 
from the Soviet view that factory-produced goods were superior to handicrafts. Now 
master craftsmen are reappearing in cities such as Samarkand and Bukhara, supported 
largely by foreign tourists. Miniature painting is narrative in character, using a wide 
palette of symbols to tell their stories. They can be read from right to left as a book, and 
often accompany works of literature. Wood carving, of architectural features such as 
doors and pillars and of items such as the sonduq, a box given to a bride by her parents, 
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High spirituality is an invincible force. .Karimov I.A. –Tashkent .: Manaviyat, 2008. -176 p. 

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also is regaining a place in Uzbek crafts. Ikat is a method of cloth dying, now centered in 
the Yordgorlik Silk Factory in Margilan. Silk threads are tie-dyed, then woven on a loom 
to create soft-edged designs for curtains, clothing, and other uses. 
Performance Arts. Uzbek music is characterized by reedy, haunting instruments 
and throaty, nasal singing. It is played on long-necked lutes called dotars, flutes, 
tambourines, and small drums. It developed over the past several hundred years in the 
khanates on the territory of modern Uzbekistan, where musicians were a central feature 
of festivals and weddings. The most highly regarded compositions are cycles called 
maqoms. Sozandas, sung by women accompanied by percussion instruments, also are 
popular. In the 1920s, Uzbek composers were encouraged, leading to a classical music 
tradition that continues today. Modern Uzbek pop often combines elements of folk music 
with electric instruments to create dance music. 
Uzbek dance is marked by fluid arm and upper-body movement. Today women's 
dance groups perform for festivals and for entertainment, a practice started during the 
Soviet period. Earlier, women danced only for other women; boys dressed as women 
performed for male audiences. One dance for Navruz asks for rain; others depict chores, 
other work, or events. Uzbek dance can be divided into three traditions: Bokhara and 
Samarkand; Khiva; and Khokand. The Sufi dance, zikr, danced in a circle accompanied 
by chanting and percussion to reach a trance state, also is still practiced. 
Uzbekistan's theater in the twentieth century addressed moral and social issues. 
The Jadidists presented moral situations that would be resolved by a solution consistent 
with Islamic law. During the Soviet period dramatists were sometimes censored. The 
Ilkhom Theater, founded in 1976, was the first independent theater in the Soviet Union.