KIRISH: maqolada o‘zbek xalqining ko‘p asrlik tarixida shakllangan, boy va rangbarang madaniy merosimizning eng ulug‘vor va ommabop qismini tashkil etgan xalq amaliy san’ati turlari ko‘rib chiqiladi. Insoniyat paydo bo’lgan davrlardan boshlab mehnat qilib kun kechirib kelgan. Bunda kundalik yumushlarda foydalangan buyumlarga o’z avlodlari ya’ni farzandiga uni qanday buyumligini tushunturish uchun belgi qo’yib yasashga uringan va shu orqali ular belgi so’z va boshqa amallar orqali qabilaga oid mehnat turlari rivojlanib borgan. Amaliy sanʼat asarlari va buyumlari insonning moddiy muhitini goʻzallashtirishga, estetik boyitishga xizmat qiladi. Amaliy sanʼatda bezak yaratishda naqsh bilan tasviriy sanʼat qismlari keng qoʻllaniladi. Amaliy sanʼat asarining uygʻunligi avvalo badiiy buyumning badiiy va amaliy vazifasining yagonaligida, shakl va bezakning oʻzaro birikuvida, tasvir va buyum tuzilishida namoyon boʻladi. Amaliy sanʼat asarlari koʻz bilan koʻrish, his etish va anglashga moʻljallangan. Amaliy sanʼat asarlari va buyumlari insonning moddiy muhitini goʻzallashtirishga, estetik boyitishga xizmat qiladi, ayni paytda oʻzining koʻrinishi, tuzilishi, xususiyatlari bilan insonning ruhiy holati, kayfiyatiga taʼsir etadi, bezatilgan narsalar hayotda foydalanilishidan tashqari badiiy qimmati boʻlgani uchun ham qadrlanadi. Shuning uchun xom ashyoning goʻzalligi va nafis xususiyatlarini namoyish etish, unga ishlov berish mahorati va usullarining koʻpligi Amaliy sanʼatda estetik taʼsirni oshiruvchi ahamiyatga ega faol vositalardir. MAQSAD: mazkur tadqiqotning asosiy maqsadi – Samarqand, Buxoro, Xiva, Shaxrisabz, Termiz, Toshkent, Qo‘qon va boshqa shaharlardagi me’morchilik, xalq amaliy bezak san’ati yodgorliklari o‘tmish avlodlarimiz yaratgan barkamol, takrorlanmas va tarixan bebaxo san’at asarlarining namunalari bo`lib, xalqimizning va shu bilan birga, jahon madaniyatining durdonalaridan bo‘lgan badiiy madaniy merosni tashkil etadi. Ajdodlarimiz boy tajribalarini hozirda hunar o’rgatilayotgan joylarda chunonchi: oliy o’quv yurtlari, o’rta maxsus kasb hunar ta’lim muassasalarida, shaxsiy usta-shogird asosida o’rgatilayotgan ustaxonalarda, qo’shimcha ta’lim muassasalarida usta va shogirdni sharqona odobi to’liq o’rgatilmasligi o’quvchi yoshlarimizni ahloq-odobiga va bilim darajasiga, umuman ular ma’naviyatining shakllanishiga salbiy ta’sir ko’satatayotganligining guvohi bo’lamiz. Shuning uchun ajdodlarimiz qoldirgan ma’naviy merosidan to’g’ri va unumli foydalanish lozim. Yozma manbalarga koʻra XVIII asr zargarlari oltin va kumushga qimmatbaho toshlar qadab toj va kamarlar, Qurollar, ot abzallari, zeb-ziynat buyumlari ishlagan. XIX asr zargarlari zumrad, durru marvarid, yoqut, feruza, aqiq, sadaf kabi qimmatbaho toshlarni oltin va kumushga qadab serjilo, jozibali zeb-ziynat buyumlari yaratishgan. Ularga bolgʻalab (zarb berib), hallab oʻyib, boʻrttirib naqsh yasab, bosib (siqib), qoliplash usullarida ishlov berilgan. Maqolada taniqli ustalarning ijodi haqida so'z boradi. MATERIAL VA METODLAR: amaliy sanʼat da narsalarning nafisliligiga ikki usul bilan erishiladi: 1) shakli oddiy, joʻn buyumlarga bezak ishlab badiiy qimmati oshiriladi; 2) shakli chiroyli qilib ishlanadi. Narsalarning tuzilishi badiiy buyumlarning mujassamotida muhim rol oʻynaydi. Xom ashyoning goʻzalligi, qismlarning mutanosibligi, tuzilishining maromi buyumning taʼsirchan umumlashma qiyofasini ifodalovchi yagona vositalardir. O‘zbek xalqining ko‘p asrlik tarixida shakllangan xalq amaliy bezak san’ati turlari boy va rang-barang madaniy merosimizning eng ajoyib va ommaviy qismini tashkil etadi. O‘zbek diyorida vujudga kelib taraqqiy etgan san’ati turlari bemisl va betakrorligi bilan dunyoga mashxur. Tasviriy san’atga chuqur, falsafiy yondoshish natijasida shartlilik, stillashtirish, ramziylikka asoslangan badiiy bezak asarlari yaratish kuchaygan. NATIJALAR VA MUHOKAMA: XIX-asr ikkinchi yarmidan ilmiy adabiyotlarda Amaliy sanʼat asarlari foydalanilgan xom ashyosi (yogʻoch, sopol, ganch, tosh, metall, suyak va boshqalar) va ijro usuli (boʻyash, oʻyib-kesib ishlash, quyish, kashta tikish, toʻqish va boshqalar)ga qarab farqlana boshlandi. Bu esa oʻz navbatida buyumlarga ishlov berishni loyihalash (dizayn) va uni ishlab chiqarish bilan bogʻlanishi (badiiy sanoat)ga zamin yaratdi. Amaliy sanʼat asarlari yaratilgan davrining maishiy qatlamiga mos mahalliy va milliy xususiyatlarni, ijtimoiy guruhlar bilan yaqin munosabatda boʻlgan uning moddiy madaniyatini ifoda etadi. Ushbu yillarda topligan adabiy manbalarda paleolit davrida amaliy-dekorativ san’at namunalari ham keng tarqala boshladi. Buyumlarni naqsh bilan bezashga, turli taqinchoqlarga, tumorlarga ehtiyoj paydo bo’lganligi arxeologlar tomonidan topilgan ashyoviy buyumlarda namoyon bo’lmoqda. Tadqiqot natijalari shuni ko‘rsatdiki, XIX asrning boshlarida buyuk ganch o‘ymakorlaridan Abdurahim Hayotov, Usta Murod, Usta Fuzayl, Usta Hayot Nosirov, Usta Xoji Hofiz, Usta Nasrulloboy, Usta Abdujalil, Usta Azim, Usta Omonullo, Usta Ibroxim, Usta Savri, Usta Abdufattox va boshqalar faoliyat ko`rsatdilar. XULOSA: o‘zbek xalq amaliy san’atining o‘ziga xos tomonlari ustoz-shogird an’anasi: Hunarmandchilik sirlari avloddan-avlodga meros bo‘lib o‘tadi. Ramziylik (Simvolizm): Naqshlar (bodom, anor, ilon izi) faqat bezak emas, balki to‘kinlik, sog‘liq va himoya ma’nolarini anglatadi. Funktsionallik va go‘zallik: Buyumlar ham kundalik turmushda ishlatiladi, ham estetik zavq bag‘ishlaydi (masalan, gilamlar, zargarlik buyumlari). Hududiy xilma-xillik: farg‘ona kulolchiligi (ko‘k-yashil), Buxoro zargarligi va zardo‘zligi, Xiva yog‘och o‘ymakorligi kabi turlar o‘ziga xos uslubga ega. Ekologik tozalik: Tabiiy materiallar va bo‘yoqlardan foydalaniladi. Asrlar mobaynida ota-bobolarimiz tomonidan ko‘z qorachig‘idek asrab avaylab kelingan xalq amaliy bezak san’ati durdonasidir. Tarixda va ayni kunlarga qadar saqlab kelinayotgan bu amaliy san’at turlari kelgusida yanada qadrlanadi, ardoqlanadi.
INTRODUCTION: this article examines the historical development, artistic characteristics, and cultural significance of Uzbek folk applied arts. Over centuries, the Uzbek people have created a rich artistic heritage expressed through various forms of decorative and applied craftsmanship. These works combine aesthetic beauty with practical function, reflecting national identity, social structure, and spiritual values. The study analyzes major types of applied arts, including ceramics, wood carving, metalwork, jewelry, embroidery, and architectural decoration. Special attention is given to symbolic ornamentation, regional stylistic diversity, and the master–apprentice tradition that ensured the continuity of artistic knowledge. The article demonstrates that Uzbek folk applied arts represent not only a component of national culture but also a valuable contribution to world artistic heritage. AIM: the purpose of this study is to analyze the major forms of Uzbek folk decorative and applied arts and to demonstrate their historical, cultural, and artistic significance. The research highlights architectural monuments and traditional crafts in cities such as Samarkand, Bukhara, Khiva, Shakhrisabz, Termez, Tashkent, and Kokand as outstanding examples of artistic achievement created by past generations. The study also emphasizes the importance of preserving the master–apprentice tradition, which historically ensured the transmission of artistic skills, ethical norms, and professional values from one generation to another. MATERIALS AND METHODS: the research is based on historical sources, art historical literature, and analysis of material artifacts preserved in architectural monuments and museum collections. Works of applied art are examined according to: Material (wood, ceramics, plaster, stone, metal, bone, textiles); Technique (carving, painting, casting, embossing, embroidery, weaving); Form and structure (proportion, rhythm, composition); Symbolic ornamentation (stylization, abstraction, and conventional motifs). The artistic value of applied art objects is achieved in two principal ways: by decorating simple functional objects to enhance their aesthetic appeal; by refining and beautifying their form through proportion and structural harmony. RESULTS AND DISCUSSION: by the second half of the nineteenth century, scholars began classifying applied art according to raw materials and production techniques. This systematization contributed to the development of art industry and design theory. Archaeological evidence suggests that decorative traditions in Central Asia have ancient roots. The use of ornamentation and symbolic motifs can be traced back to early historical periods. Over time, these traditions evolved into refined artistic systems characterized by stylization and symbolic abstraction. In the eighteenth and nineteenth centuries, Uzbek jewelers created intricate ornaments using gold and silver inlaid with precious stones such as emeralds, rubies, turquoise, agate, and mother-ofpearl. Techniques included hammering, engraving, embossing, and casting. Jewelry items—crowns, belts, weapons, and horse harness decorations—demonstrated both technical mastery and symbolic meaning. Ganch carving and wood carving flourished particularly in the nineteenth century. Prominent masters such as Abdurakhim Khaetov, Usta Murod, Usta Fuzail, Usta Hayot Nosirov, and others significantly contributed to the development of ornamental architectural decoration. A distinctive feature of Uzbek folk applied art is the master–apprentice system. Artistic knowledge, technical skills, and ethical principles were transmitted directly from teacher to student, ensuring continuity and preservation of tradition. Regional Diversity Uzbek applied arts demonstrate strong regional characteristics: Fergana Valley ceramics are distinguished by blue-green color palettes and floral motifs. Bukhara jewelry is known for refined metalwork and gemstone inlay. Khiva wood carving features deep geometric and vegetal ornamentation. Ornamental motifs such as the almond (bodom), pomegranate, and snake-like patterns symbolize abundance, fertility, health, and protection. These symbols combine aesthetic and spiritual meanings. CONCLUSION: uzbek folk applied arts represent a harmonious synthesis of beauty and functionality. Crafted from natural materials and often using environmentally friendly techniques, these works reflect centuries of accumulated artistic experience. They embody national identity, regional diversity, and spiritual symbolism. Architectural decoration, ceramics, wood carving, jewelry, and other forms of craftsmanship are not merely historical artifacts but living elements of cultural heritage. Preserved through the master–apprentice tradition, these artistic practices continue to contribute to both national culture and global artistic history. The careful preservation and study of Uzbek folk applied arts remain essential for maintaining cultural continuity and fostering appreciation for traditional craftsmanship in contemporary society
ResearcherUz