The article is devoted to the analysis of the painting of Uzbekistan in the 1970s–1980sthrough the lens of reception theory. Particular attention is paid to the interaction between East and West,artistic identity, and the mechanisms of creative assimilation of cultural heritage. The key concepts ofreception developed by H.-G. Gadamer and H.R. Jauss, as well as the features of their manifestation in thework of leading Uzbek artists of this period, are considered.
| Mualliflar | Азиза , Шаропова, Азиза , Шаропова, Азиза , Шаропова, Азиза , Шаропова |
|---|---|
| Jurnal | Санъат ва маданият Ахборотномаси |
| Nashr sanasi | 2025-06-02 |
| Son | 2025 |
| Betlar | 92-96 |
| Til | Rus |
| DOI | 10.66900/xxtygz97 |
DOI: 10.66900/xxtygz97 · Maqolaning asl sahifasi
painting of Uzbekistan, reception, traditions, identity, East and West, artistic discourse., Ózbekistan reńli súwret, recepciya, dástúr, identifikaciya, Shigis hám Batis, kórkem diskurs., живопись Узбекистана, рецепция, традиции, идентичность, Восток и Запад, художественный дискурс., Ўзбекистон рангтасвири, ретсептсия, анъана, идентификация, Шарқ ва Ғарб, бадиий дискурс.
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