Publication Details
Abstract
The early 20th century marked a transformative period in the history of visual arts across Central Asia, particularly in Uzbekistan, where the city of Samarkand emerged as a key artistic hub. During the 1920s–1930s, Samarkand became a vibrant intersection of Eastern artistic heritage and Western painterly techniques, significantly influenced by political reforms and cultural modernization. Despite the rich documentation of artistic evolution in Soviet territories, a comprehensive theoretical framework contextualizing Samarkand’s unique artistic development during this era remains underdeveloped. This study aims to explore the impact of Samarkand’s artistic life in the 1920s on the formation of easel painting in Uzbekistan, focusing on the contributions of both local and Russian-trained artists. The findings reveal the coexistence and tension between national traditions and socialist realism, embodied in the works of A. Volkov, P. Benkov, O. Tatevosyan, and Usto Mumin. The city hosted artists who adapted decorative folk styles, miniature aesthetics, and plein-air impressionism to create a culturally hybrid visual language. The research highlights the individual stylistic trajectories of Samarkand artists, uncovers the absence of rigid creative collectives, and documents the city’s appeal to Russian artists, whose visits catalyzed intercultural exchanges. Understanding the artistic life of Samarkand in this transitional period deepens our comprehension of regional cultural identity formation, the negotiation of tradition and ideology, and the broader Soviet artistic experience within a multinational context.