MUSTAQILLIK DAVRI BOSHLARIDA RANGTASVIR SAN‘ATIDA YANGI USLUBIY YONDASHUVLAR TAHLILI

Raximov Hasanboy Umarjon o‘g‘li; Muhibullayeva Mumtozbegim Fayzullaxon qizi

doi:10.66073/refocus-conf/2077

MUSTAQILLIK DAVRI BOSHLARIDA RANGTASVIR SAN‘ATIDA YANGI USLUBIY YONDASHUVLAR TAHLILI

Raximov Hasanboy Umarjon o‘g‘li, Muhibullayeva Mumtozbegim Fayzullaxon qiziNamangan davlat pedagogika instituti https://ror.org/037z3rx482026

KonferensiyalarART PEDAGOGIKANING ZAMONAVIY PARADIGMALARI, RIVOJLANISH ISTIQBOLLARI mavzusidagi respublika ilmiy-amaliy anjuman materiallari to‘plamiJild 1Son 2Sahifa 291–295

Annotatsiya

Ushbu maqolada O‘zbekiston mustaqillikka erishgan dastlabki yillarda rangtasvir san‘atida yuzaga kelgan yangi uslubiy yondashuvlar tahlil qilinadi. Mustaqillik davri rassomlarga ijodiy erkinlik berib, milliy qadriyatlar, tarixiy meros va zamonaviy badiiy izlanishlarning uyg‘unlashuviga keng imkoniyat yaratdi. Maqolada rangtasvirda yangi ifoda vositalari, kompozitsion yechimlar, rang va shakl orqali mazmun ochib berishdagi yangicha qarashlar yoritiladi.

Boshqa tillarda

ruschaАНАЛИЗ НОВЫХ СТИЛИСТИЧЕСКИХ ПОДХОДОВ В ЖИВОПИСИ В НАЧАЛЕ ПЕРИОДА НЕЗАВИСИМОСТИ

В данной статье анализируются новые стилевые подходы, возникшие в искусстве живописи в первые годы после обретения Узбекистаном независимости. Период независимости предоставил художникам творческую свободу и создал широкие возможности для гармоничного сочетания национальных ценностей, исторического наследия и современных художественных исканий. В статье освещаются новые средства выражения в живописи, композиционные решения, а также новые подходы к раскрытию содержания посредством цвета и формы.

inglizchaANALYSIS OF NEW STYLISTIC APPROACHES IN PAINTING AT THE BEGINNING OF THE INDEPENDENCE PERIOD

This article analyzes the new stylistic approaches that emerged in the art of painting during the first years after Uzbekistan gained independence. The period of independence granted artists creative freedom and created broad opportunities for the integration of national values, historical heritage, and contemporary artistic explorations. The article examines new means of expression in painting, compositional solutions, and novel views on revealing content through color and form.

Kalit so‘zlar

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

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MUSTAQILLIK DAVRI BOSHLARIDA RANGTASVIR SAN’ATIDA YANGI USLUBIY YONDASHUVLAR TAHLILI

Ilmiy rahbar: Raximov Hasanboy Umarjon o‘g‘li Namangan davlat pedagogika instituti katta o‘qituvchisi (phd) Muhibullayeva Mumtozbegim Fayzullaxon qizi Namangan davlat pedagogika instituti “Tasviriy san’at va muhandislik grafikasi” yo‘nalishi 3-kurs talabasi

Аnnotаtsiуа: Ushbu maqolada O‘zbekiston mustaqillikka erishgan dastlabki yillarda rangtasvir san’atida yuzaga kelgan yangi uslubiy yondashuvlar tahlil qilinadi. Mustaqillik davri rassomlarga ijodiy erkinlik berib, milliy qadriyatlar, tarixiy meros va zamonaviy badiiy izlanishlarning uyg‘unlashuviga keng imkoniyat yaratdi. Maqolada rangtasvirda yangi ifoda vositalari, kompozitsion yechimlar, rang va shakl orqali mazmun ochib berishdagi yangicha qarashlar yoritiladi. Kаlit so‘zlаr: rangtasvir, mustaqillik davri, badiiy uslub, modernizm, realizm, ijodiy yondashuv, kompozitsiya, rang yechimi, milliy an’ana, estetik tafakkur, badiiy ifoda, tasviriy san’at. O‘zbekiston mustaqillikka erishgach, jamiyat hayotining barcha sohalarida bo‘lgani kabi, tasviriy san’atda ham tub o‘zgarishlar yuz berdi. Ayniqsa, rangtasvir san’ati yangi bosqichga ko‘tarilib, unda badiiy tafakkur va ijodiy yondashuvlar sezilarli darajada yangilandi. Ilgari mavjud bo‘lgan mafkuraviy cheklovlarning bekor qilinishi rassomlarga erkin ijod qilish imkonini berdi, natijada milliylik va zamonaviylik uyg‘unlashgan yangi uslublar shakllandi. Mustaqillik davrining dastlabki yillarida rassomlar tarixiy meros, milliy qadriyatlar va xalq ruhiyatiga murojaat qila boshladilar. Shu bilan birga, jahon san’ati tajribalarini o‘zlashtirish, yangi texnika va ifoda vositalarini qo‘llash orqali rangtasvirda innovatsion yo‘nalishlar yuzaga keldi. Bu jarayon san’atda individual uslubning rivojlanishiga, mavzu va g‘oyalarning kengayishiga olib keldi. 1990-yillarning boshlarida O‘zbekiston rangtasvir san’atida yangi ijodiy burilish yuz berdi. Rassomlar o‘zlarining individual ifodasi va erkin ijodiy qarashlarini namoyon qilishga intilib, milliy rangtasvir poetikasida sezilarli o‘zgarishlariga sabab bo‘ldi. Shu davrda san’at falsafasi va uslubiy printsiplarda yangicha qarashlar paydo bo‘la boshladi, tomoshabinlar esa ilgari kuzatilmagan badiiy qiziqish va taassurotlar bilan tanishdi. Bu o‘zgarishlar, asosan, ijodkorlarning an’anaviy standartlar va texnologiyalardan chetga chiqishga, yangi badiiy imkoniyatlarni sinashga intilishi bilan bog‘liq edi. Yangi yo‘nalishlarda afsona, epik-folklor va ertak mavzulari, shuningdek, muqaddas ibodat ramzlari

keng qo‘llanila boshladi. Ushbu badiiy elementlar 1990-yillar O‘zbekiston rangtasvirida milliy meros bilan zamonaviy tasviriy ifodaning uyg‘unlashishini aks ettirdi. Shu bilan birga, uslubiy talqinlarda XX asr Yevropa rangtasvir maktablari ta’siri ham sezildi. Impressionizm, fovizm, kubizm, syurrealizm, va abstraktsionizm kabi oqimlar, yangi avlod rassomlari ijodida qayta ishlanib omma oldiga namoyon qilindi. Mahalliy ijodkorlar ham bu oqimlarni o‘z rangtasvir tiliga moslashtirib, yangi plastika va rang ifoda shakllarini yaratdilar. Masalan, A.Nikolaev, A.Volkov, V.Ufimtsev kabi rassomlar Yevropa san’ati an’analarini milliy badiiy qadriyatlar bilan uyg‘unlashtirish orqali o‘z asarlarida yangi ijodiy yechimlarni amalga oshiradilar. Shu tariqa, 1990-yillar milliy rangtasvir san’atida yangi uslubiy yondashuvlar shakllanib, an’anaviy maktab bilan zamonaviy badiiy qidiruvlar o‘rtasida o‘ziga xos uyg‘unlik yuzaga keldi va milliy san’atning yangi estetika yo‘nalishlari paydo bo‘ldi. 1990-yillarda O‘zbekiston rangtasvir san’atida realizm yo‘nalishi avvalgi yetakchi mavqeini yo‘qotgandek tuyuldi. Shu davrda ijodiy avlodlarning almashuvi yuz berdi va eski avlod ustalari hayotdan ketishni boshladi. Milliy san’at ustalari va realizm tarafdori akademik rassomlar N.Qo‘zibaev, R.Ahmedov, T.Oganesov, M.Saidov, L.Abdullaev, N.Shin, R.Choriev, B.Babaev va boshqalar XX asrning ikkinchi yarmida O‘zbekiston tasviriy san’atiga o‘zining muhim hissasini qo‘shgan rassomlar hisoblanadi. Garchi ushbu rassomlar sotsrealizm qoidalariga to‘liq amal qilmagan bo‘lsalar ham, ular yaratgan asarlar o‘sha davr tasviriy san’atining yuzini belgilab bergan va keyingi avlodlar uchun mustahkam ijodiy asos vazifasini bajargan. 1990-yillarda realizm avvalgi yetakchi pozitsiyasini yo‘qotgandek ko‘rinsa ham, uning eng yaxshi an’analari butunlay rad etilmadi. Aksincha, bu yo‘nalish yangi ijodiy qidiruvlar, zamonaviy badiiy talqinlar va shaxsiy ifodalar bilan uyg‘unlashib, yangicha shakl va ruhda davom etdi. Shu tarzda, realizm 1990-yillarda nafaqat o‘zining klassik prinsiplari bilan, balki milliy rangtasvir maktabining zamonaviy talqinlari orqali ham rivojlanish yo‘lini topdi. Bu davr rassomlarga milliy meros va zamonaviy plastika imkoniyatlarini birlashtirish, shaxsiy badiiy til va rang ifodasini kengaytirish imkonini berdi. Natijada, realizm yo‘nalishi yangilanib, milliy rangtasvir tarixida o‘ziga xos davomiylikni saqlab qoldi. 1990-yillar O‘zbekiston rangtasvir san’atida o‘ziga xos ijodiy burilish davri bo‘ldi. Bu davrda rassomlar yangi uslubiy yondashuvlar va mavzu tanlashda yangiliklar yaratishga intildilar. Ushbu davr rangtasvirining asosiy xususiyati shundaki, mavzular xilma-xil bo‘lishiga qaramay, ular asarlarning umumiy uslubiy strukturasi va badiiy birligini buzmasdan, aksincha, ijodiy boyligini oshirdi. Shu tariqa, rangtasvirda mavzularning murakkabligi, ularni bir-biri bilan uyg‘unlashtirish orqali san’at asarlarining chuqurligi va mazmuniy to‘qligi

ta’minlandi. Rassomlar majoziy va ramziy ifodalarni keng qo‘llash orqali sotsrealizmning g‘oyaviy bosimi va cheklovlariga o‘zlarining ijodiy munosabatlarini bildirdilar. Shu bilan birga, ular o‘tgan davrlar estetik an’analaridan chetlashib, murakkab va ko‘p qatlamli mavzular hamda syujetlarga e’tibor qaratdilar. Bu jarayon natijasida rangtasvir asarlarining plastika, stilistika va tasviriy ifoda vositalari ham sezilarli darajada o‘zgardi. 1990-yillarda rassomlar tomonidan mavzularni tanlash tasodifiy emas edi. Ular o‘z ijodida tarixiy ong va milliy merosni aks ettirishga intildilar. Shu bilan birga, san’atning milliy o‘ziga xosligini shakllantirishda tarixiy masalalar muhim omil sifatida namoyon bo‘ldi. Bu esa rassomlarni tarixiy va ijtimoiy mavzularni ijodiy talqin qilishga undadi, natijada 1990-yillar rangtasvir san’atida milliy g‘urur va zamonaviy ifoda uyg‘unlashuvi yuzaga keldi. Yuqoridagi jarayonlar natijasida, 1990-yillar O‘zbekiston rangtasvirida nafaqat yangi mavzu va uslubiy yondashuvlarni, balki milliy estetik meros bilan zamonaviy badiiy qidiruvlarni uyg‘unlashtirish davri sifatida tarixiy ahamiyat kasb etdi. Shu bilan birga, bu davr rassomlarga o‘z shaxsiy ijodiy tilini shakllantirish va o‘tmish bilan zamonaviylikni uyg‘unlashtirish imkonini berdi, bu esa milliy rangtasvir maktabining rivojida yangi bosqichga olib chiqdi.

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ReLibraryTekshirilgan 2026-11-03Metodologiya

Adabiyotlar36 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.
Odilboyeva, U. Z. (2025, December). The scientific and pedagogical influence of teacher cognition theory on method selection in the educational process. International Conference Platform, 6, 152–157.
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Yunusov, G. O. (2026). TALABA-YOSHLAR MA’NAVIYATINI YUKSALTIRISHDA XALQ FOLKLOR SAN’ATINING O ‘RNI. Mahalliy va xalqaro konferensiyalar platformasi, (3), 58-62.
Rakhimov, H. U. (2026, January). THE SIGNIFICANCE OF AUTOPEDAGOGICAL COMPETENCE IN VISUAL ARTS EDUCATION. In Claritas Conference Platform (No. 1, pp. 30-34).
Umarjon ogli, H. R. (2021). Technologies for improving composition and drawing skills based on the rules of composition. Galaxy International Interdisciplinary Research Journal, 9(12), 765–767.

Metama’lumot

Identifikator: REL-C-012087
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/2077
Nashriyot: LLC Ilm-fan va innovatsiyalar akademiyasi
Sahifa: 291–295
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).

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