ZAMONAVIY TASVIRIY SAN‘AT RIVOJLANISHINING ASOSIY TENDENSIYALARI

Vaqqosova Kamola Nazirjon qizi

doi:10.66073/refocus-conf/2067

ZAMONAVIY TASVIRIY SAN‘AT RIVOJLANISHINING ASOSIY TENDENSIYALARI

Vaqqosova Kamola Nazirjon qiziNamangan davlat pedagogika instituti https://ror.org/037z3rx482026

KonferensiyalarART PEDAGOGIKANING ZAMONAVIY PARADIGMALARI, RIVOJLANISH ISTIQBOLLARI mavzusidagi respublika ilmiy-amaliy anjuman materiallari to‘plamiJild 1Son 2Sahifa 237–240

Annotatsiya

Ushbu maqolada XXI asr tasviriy san‘atining rivojlanish tendensiyalari hamda natyurmort janrining zamonaviy talqini ilmiy asosda tahlil qilinadi. Zamonaviy san‘atda konseptual yondashuv, raqamli texnologiyalar, multimedia vositalari va milliy an‘analar integratsiyasi yoritiladi. Natyurmort janrining mazmuniy kengayishi, uning ijtimoiy-falsafiy mazmun kasb etishi hamda pedagogik-estetik ahamiyati ochib beriladi.

Boshqa tillarda

ruschaОСНОВНЫЕ ТЕНДЕНЦИИ РАЗВИТИЯ СОВРЕМЕННОГО ИЗОБРАЗИТЕЛЬНОГО ИСКУССТВА

В данной статье на научной основе анализируются тенденции развития изобразительного искусства XXI века, а также современная трактовка жанра натюрморта. Освещаются концептуальный подход в современном искусстве, цифровые технологии, мультимедийные средства и интеграция национальных традиций. Раскрываются содержательное расширение жанра натюрморта, приобретение им социально-философского содержания, а также его педагогико-эстетическое значение.

inglizchaMAIN TRENDS IN THE DEVELOPMENT OF MODERN FINE ART

This article provides a scientifically grounded analysis of the development trends of twenty-first-century fine art and of the contemporary interpretation of the still life genre. It examines the conceptual approach in contemporary art, digital technologies, multimedia means, and the integration of national traditions. The expansion of the content of the still life genre, its acquisition of socio-philosophical meaning, and its pedagogical and aesthetic significance are revealed.

Kalit so‘zlar

ta‘lim
san‘at
metodika
pedagogik yondashuv
ijodiy rivojlanish
estetik tafakkur

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ZAMONAVIY TASVIRIY SAN’AT RIVOJLANISHINING ASOSIY TENDENSIYALARI

Vaqqosova Kamola Nazirjon qizi Namangan davlat pedagogika instituti Tasviriy san’at mutaxassisligi 1-kurs magistranti

Annotatsiya:Ushbu maqolada XXI asr tasviriy san’atining rivojlanish tendensiyalari hamda natyurmort janrining zamonaviy talqini ilmiy asosda tahlil qilinadi. Zamonaviy san’atda konseptual yondashuv, raqamli texnologiyalar, multimedia vositalari va milliy an’analar integratsiyasi yoritiladi. Natyurmort janrining mazmuniy kengayishi, uning ijtimoiy-falsafiy mazmun kasb etishi hamda pedagogik-estetik ahamiyati ochib beriladi. Kalit so‘zlar: zamonaviy san’at, tasviriy san’at, naturmort, badiiy tendensiya, konseptual san’at, multimedia. XXI asr tasviriy san’ati texnologik taraqqiyot, axborot almashinuvi tezlashuvi va global madaniy integratsiya jarayonlari ta’sirida sifat jihatidan yangi bosqichga ko‘tarildi. San’atning funksional vazifasi kengayib, u nafaqat estetik obyekt yaratish vositasi, balki ijtimoiy ongga ta’sir etuvchi, muayyan g‘oyalarni shakllantiruvchi va madaniy kommunikatsiyani ta’minlovchi muhim tizimga aylandi. Zamonaviy san’atshunoslikda bu jarayon san’atning g‘oyaviylashuvi va konseptuallashuvi sifatida talqin qilinadi. Bu borada A. Danto san’atning tarixiy rivojida mazmun va g‘oya ustuvorlik kasb etganini ta’kidlaydi. Zamonaviy tasviriy san’atda an’anaviy badiiy vositalar bilan bir qatorda yangi texnologiyalar keng joriy etildi. Raqamli grafika, 3D modellashtirish, videoart, installyatsiya va performans kabi yo‘nalishlar san’atning ifoda imkoniyatlarini sezilarli darajada kengaytirdi. Ushbu jarayon natijasida san’at statik ko‘rinishdan dinamik va interaktiv shaklga o‘tdi. Tomoshabin san’at asarini faqat kuzatuvchi sifatida emas, balki uning mazmunini idrok etishda faol ishtirok etuvchi subyekt sifatida namoyon bo‘lmoqda. Natyurmort janri tarixiy jihatdan predmetlarni realistik tasvirlashga asoslangan bo‘lib, unda asosan kundalik hayot buyumlari, mevalar va gullar aks ettirilgan. Biroq XXI asrda ushbu janr o‘zining an’anaviy chegaralaridan chiqib, konseptual mazmun bilan boyidi. Zamonaviy natyurmortda predmetlar o‘zining tashqi ko‘rinishidan tashqari ramziy va falsafiy ma’noni ham ifodalay boshladi. Bu esa natyurmortni oddiy tasviriy janrdan murakkab badiiyfalsafiy ifoda vositasiga aylantirdi. Zamonaviy natyurmort asarlarida ko‘pincha ijtimoiy va ekologik muammolar aks ettiriladi. Masalan, plastik chiqindilar tasviri orqali atrof-muhit ifloslanishi, chiriyotgan mahsulotlar orqali esa vaqt o‘tkinchiligi va hayotning

muvaqqatligi ifodalanadi. Bu esa rassomning jamiyatdagi muammolarga befarq emasligini va san’at orqali ularni yoritishga intilayotganini ko‘rsatadi. Shu jihatdan natyurmort janri ijtimoiy mazmun kasb etib, zamonaviy san’atning dolzarb yo‘nalishlaridan biriga aylandi. Zamonaviy tasviriy san’atda aralash texnikalardan foydalanish keng tarqalgan. Moybo‘yoq, akril, kollaj, fotografiya va raqamli ishlov berish usullari bir kompozitsiya doirasida uyg‘unlashtiriladi. Bu esa yangi badiiy shakllar va ifoda vositalarini yaratish imkonini beradi. Rang va yorug‘lik ustida olib borilayotgan eksperimentlar natyurmortning estetik ta’sirini kuchaytiradi va uning vizual qabul qilinishini boyitadi. R. Krauss zamonaviy san’atda shaklning soddalashuvi va mazmunning chuqurlashuvini asosiy tendensiyalardan biri sifatida ko‘rsatadi (Krauss, 2000). Bu fikr natyurmort janriga ham to‘liq taalluqlidir. Minimal shakllar orqali chuqur g‘oya ifodalash zamonaviy natyurmortning muhim xususiyatlaridan biriga aylandi. Zamonaviy san’atda konseptual yondashuv markaziy o‘rinni egallaydi. Bu yondashuvga ko‘ra, badiiy asarning qiymati uning tashqi estetik ko‘rinishida emas, balki unda ifodalangan g‘oyada namoyon bo‘ladi. Natyurmort janrida ham predmetlar orqali muayyan fikr yetkazish asosiy maqsadga aylanadi. Shu sababli natyurmort endilikda vizual tasvirdan ko‘ra ko‘proq intellektual mazmunni ifodalovchi san’at turi sifatida qaraladi. Globalizatsiya jarayoni tasviriy san’at rivojiga sezilarli ta’sir ko‘rsatmoqda. Turli madaniyatlar o‘rtasidagi aloqalar kuchayib, san’atda yangi sintez shakllari yuzaga kelmoqda. Rassomlar turli milliy an’analarni o‘zlashtirib, ularni zamonaviy talqinda ifodalaydi. Internet va raqamli platformalar orqali san’at asarlari global auditoriyaga taqdim etilmoqda. Virtual galereyalar va NFT texnologiyalari san’atning iqtisodiy modelini ham o‘zgartirdi. O‘zbek tasviriy san’atida ham zamonaviy tendensiyalar faol rivojlanmoqda. Milliy rangtasvir maktabi an’analari saqlangan holda, yangi uslublar va texnologiyalar joriy etilmoqda. Rassomlar milliy kompozitsiya, rang uyg‘unligi va bezak elementlarini zamonaviy konseptual yondashuv bilan birlashtirmoqda. Natijada milliylik va zamonaviylik uyg‘unlashgan yangi badiiy yo‘nalish shakllanmoqda. Bu esa o‘zbek san’atining jahon san’ati tizimiga integratsiyalashuvini ta’minlaydi. Zamonaviy tasviriy san’atda minimalizm, abstraksionizm va ekologik san’at muhim o‘rin tutadi. Minimalizmda ortiqcha detallardan voz kechilib, asosiy e’tibor mazmunga qaratiladi. Abstraksionizm esa real shakllarni inkor etib, hissiy va ruhiy holatlarni ifodalashga yo‘naltirilgan. Ekologik san’at esa inson va tabiat o‘rtasidagi muvozanat masalalarini yoritadi. Ushbu yo‘nalishlar natyurmort janrida ham o‘z aksini topib, uning mazmuniy doirasini kengaytirmoqda. Natijada natyurmort janri zamonaviy tasviriy san’atda yangi funksiyaga ega bo‘ldi. U nafaqat estetik obyekt, balki ijtimoiy, falsafiy va ekologik g‘oyalarni ifodalovchi vosita sifatida

rivojlanmoqda. Zamonaviy rassomlar ushbu imkoniyatlardan foydalanib, san’atni mazmunan boyitmoqda va uning pedagogik ahamiyatini oshirmoqda. XXI asr tasviriy san’ati ko‘p qirrali va dinamik tizim sifatida shakllanmoqda. Unda an’anaviy va innovatsion yondashuvlar o‘zaro uyg‘unlashgan holda rivojlanadi. Natyurmort janri esa ushbu jarayonning muhim tarkibiy qismi sifatida yangilanib, zamonaviy san’atning asosiy tendensiyalarini o‘zida mujassamlashtirmoqda. Bu esa san’atning jamiyatdagi o‘rni va ahamiyatini yanada mustahkamlab, uning kelajakdagi rivojlanish istiqbollarini belgilab beradi.

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ReLibraryTekshirilgan 2026-11-03Metodologiya

Adabiyotlar30 ta adabiyot

Komoldinov, S. J. O. (2026). The pedagogical significance of composition in pencil drawing lessons. European Journal of Economic Dynamics and Policy, 2(1), 21-24.
Komoldinov, S. J. O. G. L., & Isaboyeva, M. I. Q. (2026). Manzara janrini o ‘rgatishda rangtasvir texnikalarining metodik qo ‘llanilishi. Science and Education, 7(2), 344-349.
Jomoldin o’g’li, K. S. SCIENCE, RESEARCH AND DEVELOPMENT.
Komoldinov, S. (2023, December). Qalamtasvir mashg’ulotlarida kompozitsiyaning ahamiyati. In INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCE on the topic:“Priority areas for ensuring the continuity of fine art education: problems and solutions” (Vol. 1, No. 01).
Rakhimov, K. (2023). The place of graphics in the fine arts. Solution of social problems in management and economy, 2(2), 5-8.
Rakhimov, K. (2023). THE ROLE OF PORTRAIT ARTISTS IN FINE ARTS. Models and methods in modern science, 2(2), 13-19.
Rakhimov, H. U. (2023). ANALYZING THE PROFESSIONAL QUALITIES OF FUTURE FINE ARTS TEACHERS BASED ON ART STUDIES. Экономика и социум, (1-1 (104)), 50-53.
Pulatov, D. S., & Kh, R. U. (2019). On fine arts and its varieties. Вестник магистратуры, (4-4 (91)), 89-90.
ogli Rakhimov, H. U. AJMR. AJMR.
Oripov, B. B. (2025). Ideals of the third renaissance and their artistic expression in the fine art of Uzbekistan. Academic Journal of Science, Technology and Education, 1(8), 28-32.
Oripov, B. B. (2025, December). INCREASING THE SCIENTIFIC COMPONENT OF THE ART OF POTTERY IN STUDENTS. In International Conference Platform (No. 6, pp. 134-137).
Oripov, B. B. (2025). The connection of fine arts to biological science. Science and Education, 6(12), 621-626.
BADIRJANOVICH, O. (2020). THE ROLE OF CERAMICS IN PROFESSIONAL TRAINING OF YOUNG PEOPLE IN THE MODERN EDUCATION SYSTEM. THE AMERICAN JOURNAL OF SOCIAL SCIENCE AND EDUCATION INNOVATIONS Учредители: The USA Journals, 2(9), 447-451.
Oripov, B. (2025). O ‘QUVCHILARNING RUHIYATINI SHAKLLANTIRISHDA VA TARBIYALASHDA, XALQ AMALIY SAN’ATINING O ‘RNI. Universal xalqaro ilmiy jurnal, 2, 4-3.
Oripov, B. N. (2008). Tasviriy sanʼat taʼlimida didaktika.
Oripov, B. N. (2006). Fine art and its teaching methodology. Tashkent-2005." SCIENCE- INTELLIGENCE.
Oripov, B. (2004). Jahon san'ati tarixi. 3 qismli.
Oripov, B. (2004). San'at tarixidan qisqacha izohli lug'at.
Yuldashev, J. (2024). BO ‘LAJAK TARIX O ‘QITUVCHILARINI TAYYORLASH JARAYONIGA AKSIOLOGIK YONDASHUVNI JORIY ETISHNING METODIK XUSUSIYATLARI. Farg'ona davlat universiteti, (5), 6-6.
Yuldashev, J. (2024). BOʻLAJAK TARIX OʻQITUVCHILARIDA AKSIOLOGIK POZITSIYANI RIVOJLANTIRISHNING PEDAGOGIK ASOSLARI. " ПЕДАГОГИЧЕСКАЯ АКМЕОЛОГИЯ" международный научно-методический журнал, 1(9).
Yuldashev, J. BO ‘LAJAK TARIX O ‘QITUVCHILARINING AKSIOLOGIK POZITSIYASINI RIVOJLANTIRISH METODIKASI. DENE TÁRBIYASÍ HÁM SPORT, 251.
Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.
Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.
Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).
Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).
Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.
Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.
Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).
Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.
Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.

Metama’lumot

Identifikator: REL-C-012077
Nashr sanasi: 2026-04-16
Til: o‘zbek
Konferensiyalar: ART PEDAGOGIKANING ZAMONAVIY PARADIGMALARI, RIVOJLANISH ISTIQBOLLARI mavzusidagi respublika ilmiy-amaliy anjuman materiallari to‘plami
Jild: 1
Son: 2
DOI: 10.66073/refocus-conf/2067
Nashriyot: LLC Ilm-fan va innovatsiyalar akademiyasi
Sahifa: 237–240
Litsenziya: Ushbu ilmiy ish CC BY 4.0 litsenziyasi asosida ochiq.
Ko‘rishlar: 12026-10-28 dan beri o‘lchanmoqda
Metadata manbasi: Partner conferences of the International Scientific Journal Research Focus
Oxirgi yangilanish: 2026-08-25

[1] Komoldinov, S. J. O. (2026). The pedagogical significance of composition in pencil drawing lessons. European Journal of Economic Dynamics and Policy, 2(1), 21-24.

[2] Komoldinov, S. J. O. G. L., & Isaboyeva, M. I. Q. (2026). Manzara janrini o ‘rgatishda rangtasvir texnikalarining metodik qo ‘llanilishi. Science and Education, 7(2), 344-349.

[3] Jomoldin o’g’li, K. S. SCIENCE, RESEARCH AND DEVELOPMENT.

[4] Komoldinov, S. (2023, December). Qalamtasvir mashg’ulotlarida kompozitsiyaning ahamiyati. In INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCE on the topic:“Priority areas for ensuring the continuity of fine art education: problems and solutions” (Vol. 1, No. 01).

[5] Rakhimov, K. (2023). The place of graphics in the fine arts. Solution of social problems in management and economy, 2(2), 5-8.

[6] Rakhimov, K. (2023). THE ROLE OF PORTRAIT ARTISTS IN FINE ARTS. Models and methods in modern science, 2(2), 13-19.

[7] Rakhimov, H. U. (2023). ANALYZING THE PROFESSIONAL QUALITIES OF FUTURE FINE ARTS TEACHERS BASED ON ART STUDIES. Экономика и социум, (1-1 (104)), 50-53.

[8] Pulatov, D. S., & Kh, R. U. (2019). On fine arts and its varieties. Вестник магистратуры, (4-4 (91)), 89-90.

[9] ogli Rakhimov, H. U. AJMR. AJMR.

[10] Oripov, B. B. (2025). Ideals of the third renaissance and their artistic expression in the fine art of Uzbekistan. Academic Journal of Science, Technology and Education, 1(8), 28-32.

[11] Oripov, B. B. (2025, December). INCREASING THE SCIENTIFIC COMPONENT OF THE ART OF POTTERY IN STUDENTS. In International Conference Platform (No. 6, pp. 134-137).

[12] Oripov, B. B. (2025). The connection of fine arts to biological science. Science and Education, 6(12), 621-626.

[13] BADIRJANOVICH, O. (2020). THE ROLE OF CERAMICS IN PROFESSIONAL TRAINING OF YOUNG PEOPLE IN THE MODERN EDUCATION SYSTEM. THE AMERICAN JOURNAL OF SOCIAL SCIENCE AND EDUCATION INNOVATIONS Учредители: The USA Journals, 2(9), 447-451.

[14] Oripov, B. (2025). O ‘QUVCHILARNING RUHIYATINI SHAKLLANTIRISHDA VA TARBIYALASHDA, XALQ AMALIY SAN’ATINING O ‘RNI. Universal xalqaro ilmiy jurnal, 2, 4-3.

[15] Oripov, B. N. (2008). Tasviriy sanʼat taʼlimida didaktika.

[16] Oripov, B. N. (2006). Fine art and its teaching methodology. Tashkent-2005." SCIENCE- INTELLIGENCE.

[17] Oripov, B. (2004). Jahon san'ati tarixi. 3 qismli.

[18] Oripov, B. (2004). San'at tarixidan qisqacha izohli lug'at.

[19] Yuldashev, J. (2024). BO ‘LAJAK TARIX O ‘QITUVCHILARINI TAYYORLASH JARAYONIGA AKSIOLOGIK YONDASHUVNI JORIY ETISHNING METODIK XUSUSIYATLARI. Farg'ona davlat universiteti, (5), 6-6.

[20] Yuldashev, J. (2024). BOʻLAJAK TARIX OʻQITUVCHILARIDA AKSIOLOGIK POZITSIYANI RIVOJLANTIRISHNING PEDAGOGIK ASOSLARI. " ПЕДАГОГИЧЕСКАЯ АКМЕОЛОГИЯ" международный научно-методический журнал, 1(9).

[21] Yuldashev, J. BO ‘LAJAK TARIX O ‘QITUVCHILARINING AKSIOLOGIK POZITSIYASINI RIVOJLANTIRISH METODIKASI. DENE TÁRBIYASÍ HÁM SPORT, 251.

[22] Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.

[23] Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.

[24] Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).

[25] Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).

[26] Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.

[27] Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.

[28] Abdurakhimovich, Y. J. (2024, December). THE MAIN CRITERIA FOR DEVELOPING A SYSTEM OF VALUES IN THE TRAINING OF FUTURE HISTORY TEACHERS. In International Conference on Economics, Finance, Banking and Management (pp. 201-205).

[29] Yuldashev, J. (2024). DEVELOPING THE AXIOLOGICAL POSITION OF FUTURE HISTORY TEACHERS–AS AN IMPORTANT DIRECTION OF HISTORY EDUCATION. Академические исследования в современной науке, 3(50), 33-36.

[30] Ogli, Y. J. A. The Content of the Introduction of the Development of the Axiological Approach in Future History Teachers. JournalNX, 10(10), 34-38.