Graduates of the Tashkent State Institute of Theatre and Arts (now, the National Institute of Fine Arts and Design named after Bihzad), sculptors Kh. Zairov, B. Pulatov, K. Norhurozov and U. Urokov began to work in Bukhara in the 1980s creating works in a genre of monumental and decorative sculpture. Competence in traditions of national art as well as tireless searching for new original art types are features of their creative work.
Worthy of special attention are works of Kurban Norhurozov and Ulash Urokov. Aspiring to penetrate into inner life of characters, they materialize them by means of original plastic solutions. From 1999, K. Norhurozov and U. Urokov have worked together in a studio of the famous sculptor Ulugbeg Mardiev, and, probably, under his influence a theme of “insurrection” and inner conflict logically has occupied a leading place in their recent works. At that, in spite of the same theme, each of them has individual style. Abstract, far from reality, forms, which nonetheless transmit inner heat of the works with conviction, prevail. For the sculptors more important is interpretation and exposure of a nature of their characters than their outer likeness.
Inner feelings of a person are exposed in works of K. Norhurozov – “Cry” (1989, the Uzbek State Museum of Arts”), “Bride” (1994), “Mourning of Soul” (2001) and “Amazement” (2003). Particularly, in the work “Cry”, in order to expose a spirit of the disable, the sculptor used a hyperbola demonstrating his hopeless situation. K. Norhurozov says that this work is a result of his observation of life. The sculptor permanently searches for new characters and extends his world vision. Such works as “Echo of the time” and “Mourning of Soul” prove that. “Echo of the time”, for example, exposes elusive inner spirit and body condition of a person; the sculptor condemns aggression and violence. The work imposes by its art and compositional well – balanced structure. Problems of a person, which have no solution and which cause unpreventable consequences are reflected in the sculpture “Mourning of Soul”.
In some compositions, otherwise, dominant is a positive mood. Such is the metaphoric work of K. Norhurozov “Amazement” that reflects emotions of an old man enjoying the life like artless child. The sculpture “Bride” can be considered a symbol of the beauty and high ethics of oriental women. As the author commented, some changeability of the composition must have shown a mood of transition from young years to maturity. Perfection and beauty of the girl as if say that she is worthy to love and to be loved, to become a mother.
Another notable work of the same author is the sculpture “Fly of Soul” exposing dreams, aims and wishes of the creator. The sculptor U. Urokov like K. Norhurozov interprets his characters generally. His compositions “Dreams” (1992), “Amazement” (1992), “Poet” (1993), “The lame” (1993), “Woman in national dress” (1994), “Lovers” (1996) and “Waiting” (1997) are different in style and interpretation of complicated forms. They reflect manysideness of the artist’s searches.
In cooperation U. Urokov and K. Norhurozov created several monumental sculptures installed in the center of Bukhara. They are “Winged Camel” (1989), “Mother and Child” (1999), “Mourning Mother” (1999) and the monument “Faizullah Khujaev”, installed nearby the Gallery of Arts in Bukhara. All these works give evidence for compleat professionalism of the sculptors. “Winged Camel” nearby the hotel “Varakhsha” in the center of Bukhara is a symbol of the Great Silk Road playing an important role in development of many civilizations, and “desert-ship” itself, decorated by a cover with a beautiful ornament, as if having gone down from wall paintings of Varakhsha palaces, is an evidence for greatness of its king.
In association with P. Podosinnikov, A. Rahmatullaev and U. Mardiev, U. Urokov and K. Norhurozov created the monument “Alpamysh” (Termez, 1999), which became a perfect sample of monumental sculpture in the art of Uzbekistan of the 1990s. Here, on a background of the symbolic fortress of Boysun, are exposed Barchinoi, her son Edgor and a horse – the rescuer of Alpamysh. To expose a character of Alpamysh the author used a plenty of symbols. For example, a bow in his left hand – a symbol of freedom and independence, the bird of Karchigai in the right hand – a symbol of messenger. Dignified figure of Alpamysh on a high platform represents actually legendary character.
It should be noted that in the 1990s, different approaches to interpretation of ideas and individual authors’ view of life existed in the field of monumental sculpture. The art of Bukhara’s sculptors gives evidence for permanent progress of their professionalism, its improvement in harmony of inner and outer aspects, and just that is a guarantee of further development of their creative potential.
Author: Dilmurod Pulatov