BUXORO ME’MORIY OBIDALARINI BADIIY BEZASHDA AMALIY SAN’ATNING O‘RNI VA AHAMIYATI (XVIII-XX asrlar)

KIRISH: san’at juda qadim zamonlardan boshlab mehnat jarayonining taraqqiyoti natijasida shakillangan. Yaratuvchanlik va bunyodkorlik faoliyati jarayonida insonning tafakkuri kamol topadi, go’zallikni his etish ortib boradi. Amaliy bezak san’ati me’morchilik va hunarmandchilik bilan uyg’un tarzda rivojlangan, ijtimoiy taraqqiyotdagi katta o’zgarishlar san’atning jamiyat hayotidagi o’rnini belgilab bergan. San’at tarixiy jarayonlarda ma’lum vaqt g’oyaviy qurol sifatida hukmron tabaqalarning targ’ib etuvchi o’ziga xos kuchiga aylangan, lekin shunga qaramay u hayot go’zalliklarini tasvirlab, odamlarda yuksak xislat va fazilatlarni kamol topishiga xizmat qilgan. MAQSAD: markaziy Osiyoda Buxoro me’morligi merosi va uning amaliy bezak san’ati o‘zining alohida o‘rniga egaligi va qadimiy boy madaniyati hamda rang-barangligi bilan mashhur. Ushbu yodgorliklarni va milliy hunarmandchilik namunalarini asrabavaylash doimo dolzarb masala bo‘lib qoladi. Me’moriy obidalarga ikkinchi hayot baxsh etishda xalqimizning qo‘li gul usta-me’morlari Sh.Murodov, A.Boltayev, A.Baqoyev, T.Arslonqulov, A.Hayotov, Sh.G‘afurov, Q.Jalilov, B.Jo‘rayev, U.Ikromov, M.Usmonov, A.Haqqulov va O.Yoqubovlar xizmati beqiyosdir. Ta’mirlash-restavratsiya san’ati binoni qurishdan o‘n chandon mashaqqatli va og‘ir yumushdir, chunki restavratsiyadan ko‘zlangan asosiy maqsad me’moriy obidalardagi san’at asarlarining asliyatini to‘laligicha saqlab qolishdir. MATERIALLAR VA METODLAR: ilmiy manbaalaragi mulohazalar tahlili; muayyan vaqtda barpo etilgan me’moriy inshootlarning tashqi ko‘rinishi, shakl-shamoyili, qurilishi, tuzilishi, bezatilishiga qarab o‘sha hududning qurilish ishlari amalga oshirilgan davrdagi tarixining ko‘p jihatini o‘rganish mumkin. Masalan, bino sifatli materiallardan mustahkam qurilgan, o‘ziga xos me’moriy yechimga ega, chiroyli va hashamdor bezatilgan bo‘lsa, bu o‘sha davrda iqtisodiy rivojlanish bo‘lganini anglatadi. Aksincha, inshoot arzon materiallardan tiklanib, yuzaki bezatilgan yoki umuman bezalmagan bo‘lsa, bu o‘sha davrning iqtisodiy ahvoli nochor bo‘lganini anglatadi. NATIJALAR VA MUHOKAMA: XIX asr boshlaridan Buxoro me’morchiligida kuzatilgan ma’lum bir ijobiy siljishlar, albatta mamlakat hukmdorining e’tibori samarasi edi desak mubolag‘a bo‘lmaydi. Chunki, Mang‘itlar hukmronligi davrida mavjud saroy va davlat mulki obidalarini saqlash uchun alohida mas’ul mulozimlar tayinlanib, ularning faoliyati qat’iy belgilangan. Davlat imoratlari xazinadan, diniy inshootlar esa vaqf mulklari hisobidan ta’mirlangan. Yirik mulkdorlar va zodagonlar tomonidan ham masjid va madrasalar barpo etilgan. Shu o‘rinda ta’kidlash lozimki, o‘sha davrda O‘rta Osiyodagi uchala xonlikda ham qurilish-bunyodkorlik ishlari bir tekis kechmagan. Buxorodan farqli o‘laroq, Xiva xonligidagi yodgorliklar asosan XVII-XIX asrlarda barpo etilgan bo‘lib, boshqa xonliklar me’morchiligidan ancha farq qilgan. Ayniqsa XIX asrda Xivada ulkan qurilishbunyodkorlik ishlari amalga oshirilgan bo‘lib, Buxoro va Qo‘qon xonliklaridagi shaharsozlik ko‘lami va badiiy qiymatidan nisbatan yaxshi bo‘lgan. XULOSA: o‘rta Osiyoning boshqa hududlariga nisbatan Buxoro me’morchiligida masjid va madrasalardan tashqari maqbaralar ham alohida o‘rin tutadi. Maqbara ulug‘ avliyolar, ulamolar, islom dini peshvolari, xon va amaldorlar, afsonaviy shaxslarning qabri ustiga tiklangan me’moriy inshootdir. Islom dini paydo bo‘lgan dastlabki davrda qabr ustiga turli binolar qurish taqiqlangan, keyinchalik esa ular qurilishiga ruxsat berilib, bu joylar muqaddas ziyoratgohlarga aylantirilib, aksariyat xollarda masjidlar tarkibiga kirgan

INTRODUCTION: art emerged in ancient times as a result of the development of human labor activity. In the process of creative and constructive work, human thinking improved and the sense of beauty increased. Applied decorative art developed in close harmony with architecture and craftsmanship, while major changes in social development determined the role of art in society. In certain historical periods, art functioned as an ideological tool in the hands of the ruling classes; nevertheless, it depicted the beauty of life and contributed to the formation of noble qualities and virtues in people. AIM: the architectural heritage of Bukhara in Central Asia and its applied decorative art occupy a special place, renowned for their ancient, rich culture and diversity. Preserving these monuments and examples of national craftsmanship remains an актуal and pressing issue. An invaluable contribution to giving a “second life” to architectural monuments was made by народные мастера-архитекторы such as Sh. Murodov, A. Boltayev, A. Baqoyev, T. Arslonqulov, A. Hayotov, Sh. G‘afurov, Q. Jalilov, B. Jo‘rayev, U. Ikromov, M. Usmonov, A. Haqqulov, and O. Yoqubov. The art of restoration is many times more complex and demanding than constructing a new building, since its main goal is to preserve the authenticity of the artistic works embodied in architectural monuments. MATERIALS AND METHODS: analysis of scientific sources; examination of the external appearance, form, construction, structure, and decorative design of architectural structures built in a certain period allows researchers to study many aspects of the historical era in which construction was carried out. For example, if a building is constructed from high-quality materials, is structurally strong, has a distinctive architectural solution, and is beautifully and richly decorated, this indicates a period of economic prosperity. Conversely, if a structure is built from inexpensive materials and decorated superficially or not at all, it reflects economic hardship of that time. RESULTS AND DISCUSSION: the positive developments observed in Bukhara’s architecture from the early 19th century were largely the result of the rulers’ attention to construction and preservation. During the rule of the Manghit dynasty, special officials were appointed to oversee the maintenance of palaces and state-owned monuments, and their duties were strictly regulated. State buildings were repaired at the expense of the treasury, while religious structures were maintained through waqf (endowment) funds. Wealthy landowners and nobles also sponsored the construction of mosques and madrasahs. It should be noted that construction and urban development activities in the three Central Asian khanates were not uniform. Unlike Bukhara, the monuments of the Khiva Khanate were mainly built in the 17th–19th centuries and differed significantly from the architecture of other khanates. Particularly in the 19th century, Khiva witnessed largescale construction projects which, in terms of urban planning and artistic value, were in some respects superior to those of Bukhara and Kokand. CONCLUSION: compared to other regions of Central Asia, Bukhara’s architecture gives special prominence to mausoleums in addition to mosques and madrasahs. A mausoleum is an architectural structure erected over the grave of prominent saints, scholars, religious leaders, khans, officials, or legendary figures. In the early period of Islam, constructing buildings over graves was prohibited; later, however, it was permitted. Such structures became sacred pilgrimage sites and were often incorporated into mosque complexes.