Ilkhom Osman was born in 1960 in Andijan. The graduate of Art – Graphic Faculty of Tashkent Pedagogical Institute by Nizami can set himself up as a follower of “unacademic” painting. He organically combines techniques of European impressionists of the last third of the 19th – beginning of the 20lh century – С Monet, 0. Renoir, K. Pissarro and expressionists of the first quarter of the 20th century which proclaimed the world of spirit as only reality, and the aim of art to express the inner life of artist.
In the art of the modern Uzbek artist, this super task revealed itself in keen self-expression, emotional intension, irrational and often mystic images. Ilkhom Osman aspires to create the ideal world within imitation of nature: it lives in his pictures, breathes and even sounds as something organically integral. M. Sariyan emphasized: “Sincerity is the biggest secret of art. If you draw a line, it must sound as a violin string, sad or joyful. If it does not sound so, it is a dead line. The same concerns a color and everything in art… “.
Small human figures in I. Osman’s works are to humanize earthborn and, at the same time, cosmic landscape, but not to dominate in it. People merge in absolute harmony with the nature and supplement it as birds supplement the sky.
The world appears holistic, alive and breathing space where the soul of artist and nature are interacting. Therefore, a composition is forming as impromptu, momentary and exclusive organization of a picture, instead of standard and rational layout of subjects on a canvas.
I saw Ilkhom working. His artistic manner bears an air of innovative searches for graphic solutions. Aspiration for own methods resulted in deliberate use of own fingers as painting instruments. The artist explained that he feels a texture better in this way as a sculptor feels material or a musician feels a musical instrument. Touching a canvas by his finger-cushions, the artist creates many works. His working reminds music playing when a pianist touching the keys of piano gets proper sounds. That is why the artist was given a nickname – “pianist” in artistic midst. Before my eyes, to saxophone accompaniment, he created a small masterpiece romantically called “Moonlight night”.
Ilkhom has a lot of such impromptu, each of which has own name and history: “Old Samarkand”, “Hauz in the garden”, “Road of melodies”, “Conversation”, “Sumalyak”, “Courtyard with tandyr” and many other poetic images from childhood, youth and middle age of the master within historical and cultural context of changing time. Looking at his pictures, you are convinced of classic postulate: “Ideal – is harmony. Only art feels it”.
Ilkhom Osman has lived in Turkey for last ten years and regularly visits the native land. The family, years of study at outstanding masters R. Akhmedov, Ch. Ahmarov, R.Charyeva, becoming of his talent in hot disputes with colleagues – B. Djalalov, M. Tohtaev, S. Karabaev and other artists-innovators – all that makes a bond between him and homeland. In spite of innovative artistic solutions, the art of Ilkhom Osman is penetrated with spirituality of the East. Many-sided images of his imposing suite are solemn and lyric. They expose reverent relation of the artist to the native land and magic attraction of oriental poetics before spectators of the 21st century.
Literature
1. Сарьян М. Из моей жизни // Художник. 1976, N 4. 2.Толстой Л. Из дневника. Март, 1863.
Gukhar Bagdasarova