O‘ZBЕKISTON DAVLAT SAN’AT MUZEYINING BADIIY HUNARMANDCHILIK KOLLEKSIYALARI TARIXIDAN

KIRISH: maqolada O‘zbekiston davlat san'at muzeyi kollektsiyalari “O‘zbekiston xalq amaliy san'ati” bo‘limi negizida ko‘rib chiqiladi. Tadqiqot markazida – XX asr O‘zbekiston badiiy hunarmandchiligi. Maqolada muzeydagi badiiy hunarmandchilik kollektsiyalarini hisobga olish tarixi va holati tadqiq etilgan. Doimiy ekspozitsiya o‘rganiladi va tahlil qilinadi. Fond ishining ilgari noma'lum tomonlari, arxiv hujjatlari va hisob-kitob ma'lumotlari ilk bor ilmiy muomalaga kiritildi. Xulosa o‘rnida, muallif o‘rganilgan ma’lumotlar asosida aniqlangan muammolarni bartaraf etish bo‘yicha o‘zining uslubiy tavsiyalarini beradi. MAQSAD: tadqiqotning asosiy maqsadi O‘zbekiston davlat san’at muzeyi “O‘zbekiston xalq amaliy san’ati” bo‘limidagi XX asr badiiy hunarmandchilik kolleksiyalarining shakllanish tarixini o‘rganish, mavjud fond ashyolarining hisobga olinishi va saqlanish holatini tahlil qilish hamda ekspozitsiyadagi kamchiliklarni ilmiy asosda ochib berishdan iborat. MATERIAL VA METODLAR: o‘zbekiston davlat san’at muzeyi fondidagi 23 ta kolleksiya (kulolchilik, kashtachilik, kiyim-kechak, chitgarlik va b.), muzeyning ilmiy arxivi hujjatlari, inventar kitoblari hamda XX asrning 30-40-yillaridagi ilmiy ekspeditsiya hisobotlari. Maqolada tarixiy-qiyosiy tahlil, san’atshunoslik va etnografik kuzatuv hamda muzeyshunoslikka oid tizimli tahlil metodlaridan foydalanilgan. Shuningdek, fond ashyolarining holati va arxiv ma’lumotlarini ilmiy muomalaga kiritish orqali deskriptiv (tavsifiy) metod qo‘llanilgan. NATIJA VA MUHOKAMALAR: muzey tarixi 1918-yildan emas, balki knyaz N.K.Romanovning shaxsiy kolleksiyasi asosida ancha ilgariroq boshlangani arxiv hujjatlari orqali isbotlandi. Kolleksiyalar tahlili: “O‘zbekiston kulolchiligi” kolleksiyasida 2500 ga yaqin ashyo borligi, ayniqsa, an’analari yo‘qolib ketgan Kattaqo‘rg‘on kulolchilik maktabining 50 dan ortiq nodir namunalari saqlanishi aniqlandi. Muammolar: Kashtachilik va kiyim-kechak kolleksiyalarida hisobga olish ishlarida chalkashliklar (masalan, choyxaltalarning turli fondlarda takrorlanishi), ashyolarning saqlanish holati (kuya yegan paypoqlar) va eksponatlarni ko‘rgazmalarga haddan tashqari ko‘p chiqarish natijasida shikastlanishi kabi muammolar ochib berildi. Yangiliklar: Chitgarlik qoliplaridan nafaqat matoga, balki ipak sharflar va teri buyumlarga ham naqsh bosishda foydalanilgani birinchi bor qayd etildi. XULOSA: muzey kolleksiyalari XX asr badiiy hunarmandchiligining barcha sohalarini (shisha, chinni, lokli miniatyura va b.) to‘liq qamrab olmagan, fondlarda tizimli uzilishlar mavjud. Muzey ekspozitsiyasi hali ham eski (tematik) uslubda bo‘lib, unda noan’anaviy va sanoatlashgan hunarmandchilik namunalari e’tibordan chetda qolmoqda. Fonddagi chalkashliklarni bartaraf etish uchun ashyolarni qayta saralash, “Fondlarni hisobga olish” bo‘limi ishini takomillashtirish va kolleksiyalardagi bo‘shliqlarni yangi eksponatlar bilan maqsadli to‘ldirish zarur.

INTRODUCTION: the article discusses the collections of the State Museum of Art of Uzbekistan on the basis of the department of national applied art of Uzbekistan. From the perspective of the author - the artistic crafts of Uzbekistan of the twentieth century. The author explores the history and state of acquisition of museum collections for artistic crafts. Studied and analyzed permanent exposure. Previously unknown aspects of the background work, archival documents and accounting information are introduced into the scientific circulation. In conclusion, based on the created picture, the author offers methodological recommendations for eliminating the identified problems. AIM: the primary aim of the research is to study the history of the formation of 20th-century artistic craft collections within the "National Applied Art of Uzbekistan" department of the State Museum of Art of Uzbekistan. The study aims to analyze the current state of accounting and preservation of fund items, as well as to scientifically identify and highlight deficiencies in the permanent exposition. MATERIALS AND METHODS: the research is based on 23 collections from the funds of the State Museum of Art of Uzbekistan, including ceramics, embroidery, clothing, and block printing. It utilizes scientific archive documents, inventory books, and reports from scientific expeditions conducted in the 1930s and 1940s. The article employs methods of historical-comparative analysis, art historical and ethnographic observation, and systematic analysis within the field of museology. Additionally, a descriptive method is used to introduce archival data and information regarding the physical condition of fund items into scientific circulation. RESULTS AND DISCUSSION: museum History: Based on archival documents, it is proven that the history of the museum begins significantly earlier than 1918, rooted in the private collection of Prince N.K. Romanov. Collection Analysis: It was determined that the "Ceramics of Uzbekistan" collection contains approximately 2,500 items, including over 50 rare specimens from the Kattaqurgan pottery school, whose traditions have since been lost. Issues: Discrepancies were found in the accounting of embroidery and clothing collections (e.g., the misplacement of tea bags across different funds). Problems regarding the preservation of items (such as moth-damaged wool products) and the damage of exhibits due to excessive transport for external exhibitions were also highlighted. Innovation: It was recorded for the first time that block printing molds (qoliplar) were used not only for textiles but also for applying patterns to silk scarves and leather goods. CONCLUSION: the museum collections do not fully encompass all sectors of 20th-century artistic crafts, with systematic gaps in areas such as artistic glass, porcelain, and lacquer miniature. The museum exposition still adheres to an outdated thematic plan that overlooks non-traditional and industrialized craft sectors. To eliminate identified problems, it is necessary to re-sort items, improve the work of the "Fund Accounting" department, and purposefully fill collection gaps with new acquisitions.