Min imperiyasi davrida Xitoy Tasviriy san'ati

MIN IMPERIYASI DAVRIDA XITOY TASVIRIY SAN'ATI.

Isaqov Abduvohid Abduvahobovich

Namangan davlat universiteti,

Tasviriy va amaliy san’at kafedrasi o’qituvchisi

Annotatsiya. Xitoy sivilizatsiyasi ko'plab gumanitar va ijtimoiy fanlar doirasidagi ilmiy tahlilning ob'ekti bo'lib, uni nafaqat ajralmas hodisa sifatida, balki individual ko'rinishlarida ham o'rganiladi. Ming imperiyasi davridagi tasviriy san'atni o'rganish qiziqarli va dolzarb mavzulardan biri sifatida turli xil tadqiqotchilar tomonidan o’rganiladi va bu tadqiqotlar ko'plab manbalar hamda tarixiy ma'lumotlar, Xitoy san'ati an'analarini sharhlash zaruriyati bilan bog'liq. Maqolada Ming sulolasi davrida Xitoy tasviriy san’atining shakllanishi va rivojlanishi masalalarini ko'rib chiqilgan. Maqolada o'rganilgan davrdagi xitoylik rassomlarning asarlarini qisman tavsifi va ularning ishlari qisqacha tahlil qilingan hamda Ming sulolasi tasviriy san'atining janr xususiyatlari aniqlanadi. 

Kalit so'zlar. Ming sulolasi, Xitoy, rasm, janr, ijtimoiy va madaniy jarayonlar.

ИЗОБРАЗИТЕЛЬНОЕ ИСКУССТВО КИТАЯ ВО ВРЕМЕНА ДИНАСТИИ МИН

Исаков Абдувохид Абдувахобович

Наманганский государственный университет,

Преподаватель кафедры изобразительного и прикладного искусства

Аннотация: Китайская цивилизация является предметом научного анализа во многих гуманитарных и общественных науках и изучается не только как целостное явление, но и в его индивидуальной форме.

Изучение изобразительного искусства во времена Минской империи изучается различными исследователями как одна из наиболее интересных и актуальных тем, связанных с многочисленными источниками и историческими данными, необходимостью интерпретировать китайские художественные традиции. В статье рассматривается становление и развитие китайского изобразительного искусства во времена династии Мин, представлен краткий обзор произведений китайских художников изучаемого периода, а также изучает жанровые особенности изобразительного искусства этой эпохи.

Ключевые слова. Династия Мин, Китай, живопись, жанр, социальные и культурные процессы.

CHINESE ART DURING THE MING DYNASTY

Isakov Abduvokhid Abduvakhobovich

Teacher of the Department of Fine and Applied Arts,

Namangan State University

Annotation: Chinese civilization is the subject of scientific analysis in many humanities and social sciences and is studied not only as a holistic phenomenon, but also in its individual form.

Fine art during the Ming Dynasty is studied by various researchers as one of the most interesting and relevant topics, which associated with numerous sources and historical data, with the need to interpret Chinese art traditions. The article provides a brief overview of the works of Chinese artists of the studied period, and also explores the genre features of the fine art of the Ming Dynasty.

Keywords: Ming Dynasty, China, painting, genre, social and cultural processes.

Introduction. Painting in China appeared in ancient times, but the period from the 10th to the 13th century became the era of its highest prosperity. It was then that the foundations of many pictorial styles were laid. The search for the sources of the pictorial traditions of the Chinese people determines the appeal to the historical past of Chinese art, as the one of the key problems of Chinese classical painting.

 As an interest to contemporary art history, history, cultural studies are those events and circumstances that led to the formation of new trends. First of all, this is the struggle of various artistic and philosophical movements in Chinese painting in the era of the Ming Empire (1368-1644). Complicated events filled the period of the history of Chinese art from the reign of the “Five Dynasties and Ten Kingdoms” (907–960), the unification of the country by the Song Dynasty (960) until the establishment of Mongol rule in China (1279). Of interest to contemporary art history, history, cultural studies are those events and circumstances that led to the formation of new trends. First of all, this is the struggle of various artistic and philosophical movements in Chinese painting in the era of the Ming Empire (1368-1644).

The history of Chinese painting in scientific and critical reflection.  In the study of various issues related to the history of Chinese painting, science mainly relies on two types of sources: paintings of the corresponding period and written materials. The Ming Dynasty, or as the Great Country of Ming (Chinese 大 明 國, 大 明 国, 1368-1644) is the dynasty that ruled China after the liquidation of the Mongol Yuan dynasty. During the reign of the Ming Dynasty, the population of China totaled from 160 to 200 million inhabitants [1]. Characteristically, the Ming dynasty was the last of the Chinese dynasties ruled by ethnic Han [2].

During the Ming Dynasty in the 15th century, China completely surpassed its predecessors in size and scale. It was during the reign of Ming that large construction projects, such as the restoration of the Great Chinese Canal and the Great Wall of China, were realized. In addition, the Forbidden City is being constructed in the first quarter of the 15th century. The general democratization of the culture of the Ming dynasty was contrastingly expressed in the drama of “dzatsuyu”, novel, household painting, color woodcut, leaving its imprint on the decor, storyline, interpretation of identical motifs, as well as on the technical side of the performance of the products[3]. According to Titarenko, she also touched on applied art and “the porcelain reflected these processes very precisely” [4]. The utilitarian purpose of porcelain products, the availability of such products entailed its popularization among all segments of the population. It is also characteristic that in the 14th – beginning of the 15th centuries a search is made for new forms of porcelain and the motives of its painting. In the 15^th-16th centuries, structural forms became clearly distinguishable, the composition of the image logically thought out by the artist [5]. In the studied period, they fully and very vividly manifest themselves as forms of art that were outlined even in the 13th – 14th centuries [1], so new types, forms and genres of fine art, formed and intensively developed during this period. The growing role of applied art has provided folk artists and craftsmen with new opportunities for creative activity. Chinese culture of the 15^th-17th centuries as a whole is a combination of the high achievements of previous periods. It can be argued that this was a very specific era in the history of Chinese art, which left many generations of high-quality models, including fine art, for the next generations. Our compatriots also receive aesthetic pleasure and an unforgettable impression of classical Chinese culture. [6]

Features of Chinese painting. Characterizing the specifics of the culture of China, it is impossible not to remember the paintings, which is strikingly different from Western models not only with a set of technical means, but also with a fundamentally distinctive artistic language - more conventional and decorative. It is difficult for European scholars to recognize the emotional richness of Chinese painting, “because the Chinese have different ways of expressing feelings and a different attitude to these feelings themselves. The internal tension and inconsistency of Western paintings makes the impression on the Chinese audience of unjustified aggressiveness and chaos” [7]. It is known that “Chinese painting was not peculiar to be based on mathematical formulas. Artists did not try to imitate nature as realistic art. They also did not pay much attention to “I” and “Personal,” as expressionists and romantics did” [8].

The genre specificity of Chinese painting has always been quite diverse. For example, landscape painting, animalistic, everyday genres, a ceremonial portrait, a miniature on fans and other household items are known. Still life in China did not exist in the usual view for Europeans. According to the Chinese, stationary objects are dead without the dynamics of movement, life and time. Therefore, local artists, depicting, for example, stones, always depicted some kind of plant next to them. Among all the genres of painting, landscape gained the greatest importance, and painters in their works rethought the aesthetic qualities of nature, the renewal of which was associated with the Taoist idea of harmony and the constancy of being. Such creative associations of artists had a great impact on the entire Chinese painting, thus determining its nature.

Genre “Birds and Flowers”: creation story, subject of the image, symbolism.  Artists of traditional Chinese painting have long turned to images of animals, insects and birds. Such are found even on the shards of ancient ceramics. Subsequently, a separate genre “Birds and Flowers” was formed in art, which combined images of birds and plants, plants and insects, and so on. The genre “flowers and birds” gains great popularity due to its deep cosmogonic symbolism. This genre ensured the realization of the aesthetic principle popular in Chinese classical painting: “Random is brought together” [9]. The appearance of this genre dates back to the 10th B.C., when China was a conglomerate of fragmented state formations. The upper and middle sections of the Yangtze River were controlled by the states of Early Shu and Late Shu. In the land of green slopes of this territory lived the artist Huang Quan (years of life are not known), who is considered the founder of the genre of “Birds and Flowers”.

According to legend, six cranes were delivered to the Gunachzhen yard, and the king liked the birds so much that he ordered the artist to draw them on the wall. The artist recreated the birds so well in the painting that since then the hall has received the name “Six Cranes” [10]. Obviously, long-term observations of birds and animals, as well as his talent, helped the artist masterfully reproduce animals.

The painter also fulfilled other orders of the king, one of which (also mural) was called “Birds and Flowers at Four Seasons”. The preserved monument of the initial period in the genre of “Birds and Flowers”, known as “Rare Birds”, was also unique in character. On a small piece of silk, the artist painted twenty-four birds with water colors, as well as insects and reptiles. And although the picture did not have a vividly reproduced plot, its content is justified by the purpose of the picture: an inscription made by the artist testified that the image was to be a teaching tool for the son, whom his father prepared for the artist's specialty. Of particular popularity were the wild plum flowers of Meihua. Plum with sour and inedible fruits had beautiful yellow, white or red flowers, after the winter bloomed the first and involuntarily became the emblem of spring, a symbol of the revival of nature after winter: “The flowering wild plum meihua gathered whole villages for unofficial celebrations about the onset of spring. Wild plum meihua with red flowers is a popular character in many paintings by Chinese masters for several centuries ”[11].

The genre of “Birds and Flowers” has not disappeared over a century. He had numerous supporters, even when the Early Shu and Late Shu states disappeared, and lived to the 21st century. The most famous ancient Chinese artists of the Birds and Flowers genre were Han Huang, Mu-qi, Huang Quan, Xu Xi, Zhao Zhang, Xu Wei and Chen Chun.

The problem of schematism and the reproduction of reality in a landscape. Creative discoveries made by Chinese masters of past periods and, in particular, the Ming Dynasty, are accepted today as just and forever approved schemes. However, in connection with this circumstance, it should be noted that in such a perception, these discoveries to some extent lose their direct connection with real life. For artists of this era it was mandatory to have the ability to master not only one, but all styles of art. And yet, even in the official, most prone to schematization of Ming dynasty painting, there are traces of a living perception of reality and a desire to break through dead patterns. Many of the masters, imitating the painters of the past, did not blindly copy their works, but introduced their attitude towards the work, their own new perception of life. The Ming Dynasty period left a rich creative legacy of landscape painters representing various schools and schools. Most of the landscapes of this time are still full of feelings and great emotionality, and this applies especially to the works of those artists who were less associated with the capital's court direction and lived in the south of the country. Mostly popular were art schools that formed and functioned in Suzhou City, as well as in Zhejiang Province. Many artists who did not consider themselves to be professionals, but were modestly considered amateurs, were more free to choose themes and images. Among the best called Van Wei (1459-4508), The author of the juicy and soft, as if saturated with foggy moisture nature paintings, reproducing the style of Xia Guia, Tan Yin (1470-1523). As well as a subtle and lyrical master who worked in various genres, Xu Wei (1521-1593 gg.), Wen Zheng-ming and others whose landscapes do not introduce new qualities, but inspired by the living beating of life. Moreover, the landscape was no longer the dominant and advanced direction of Chinese painting.

Conclusion.

A large number of Chinese art monuments created in ancient times, as well as during the heyday of the Ming Dynasty culture, are truly grandiose, despite the losses caused to the country by various wars. Therefore, everyone who was fortunate enough to visit China does not leave the feeling of the antiquity of culture, which to this day has not lost its vitality. Due to the unique culture and original art of China, including the fine art, the thousand-year history is combined with the full hopes of the modern life of the Chinese people.

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