The Artistry in Uzbek Films Based on the Works of Alisher Navoi

San’at Obidovich Kenjayev

, Nigora Tohirjonovna Haydarova

, Imyar Idrisovich Mansurov

and Abduxalil Mamasiddikovich Mamadaliyev

National Institute of Art and Design named after Kamoliddin Behzod, Tashkent, Uzbekistan

Keywords: Multiplication, Painting, Image, Style, Rhythm, Unique Colours, Computer Graphics, Special Effects,

Technology, Miniature, Scenario, Screen, Conception, Film Artist, Creation, Interpretation.

Abstract: This article analyzes the unique style and skills of the artists in animated films created based on the epics

“Sabb'ai sayyor”, “Farhad and Shirin”, “Hayrat-ul abror” in the work of the great thinker Alisher Navoi

“Khamsa”. The films "Bahrom and Dilorom" and "Black Palace" based on Alisher Navoi's "Sabb'ai sayyor"

epic in Uzbek multiplications were expressed in the developed perekladka technology, original paints during

this period. Film artist M. Mahmudov appeals to miniaturists who represent Eastern classical poetry,

penetrating deeper into the style of his image. Under the direction of M.Mahmudov, the painting "Lion and

Durroj" based on the epic "Hayrat ul-abror" by Navoi was interpreted in unique colors. Another film based

on the epic "Farhad and Shirin", which glorifies high love, was screened in A. Navoi "Khamsa". In this epic

scenario, E. Khasanova and the director N. Tolakhodzhayev in the co-authorship of the scenario developed,

and the artist with A. Guardian the skill of ship was interpreted on the screen of animation.

1 INTRODUCTION

In the second half of the 90s there was a change in the

Uzbek multiplication. During this period, the decree

on the creation of the Uzbekkino state-owned

company gave impetus to a new creative process in

the art of multiplication. As a result, this art gradually

restored itself and the tendency to create national

works began. Attention was paid to the creation of

films in the state language. The art of animation has

become rich in theme, genre, style, and technology.

Also, young artists came and expanded the range of

specialists among the leading representatives of the

studio.

The emphasis is on the creation of Heroes of the

animated films in the national character. The creators

focused on creating films based on our national

classical works. The images of our great ancestors

began to appear on the screen of the multiplier.

National heroes were represented not only in their

visual appearance, but also in their movement,

character, dialogue, and intonation, as well as in the

fine decorations on the stage. The great ancestral

https://orcid.org/0000-0002-5623-1874

https://orcid.org/0000-0001-6538-7953

https://orcid.org/0009-0005-8647-4139

figure of the past M.Mahmudov, N.Tolakhodzhaev

like, the leader, was reflected in the films of the

creators.

2 LITERATURE

On the basis of rare samples of our national classical

heritage - the great thinker Alisher Navoi “Khamsa”

- “Bahrom and Dilorom” (1996) “Black Castle”

(1997), “Farhod and Shirin” (2010), “Lion ila durroj”

(2010) multiplication films were created. These films

differ from each other in terms of image, style, color,

image, and space. The works of Navoi were scripted

with the help of Navoi's scientist Suyuma Ganiyeva,

mainly director and artist M.Mahmudov skillfully

moved to the screen. Interpretation of these literary

works on the screen of the multiplication, in which

the events of the plot and the expression of heroes

cinema M.Mirzamuhamedova passed in the

monograph” Uzbek animation". The transfer of these

literary works into the language of images, and the

1436

Kenjayev, S., Haydarova, N., Mansurov, I. and Mamadaliyev, A.

The Artistry in Uzbek Films Based on the Works of Alisher Navoi.

DOI: 10.5220/0012974300003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 1436-1440

ISBN: 978-989-758-723-8

expression of every detail in them by means of

pictorial means, of course, depends on the artist's skill.

It is known that it is an incredibly difficult task to

express the goals and ideas in the epic of Navoi,

which expresses enormous content, and the Egyptians

dial the pearls of the word as pearls, in fine lines. It

was who felt it deeply. First of all, M. Mahmudov

made a great demand for the script. As the resin

reflects the ocean, the creator draws attention to the

expression of the echo of the great content in the small

film. To screen the work M.Mahmudov begins the

story with the first chapter, which connects the seven

stories-the epic “Bahrom and Dilorom" (Kadirov et

al., 2020).

3 RESULTS AND DISCUSSION

The films “Bahrom and Dilorom” and “Black Castle”

based on Alisher Navoi's “Sabb’ai sayyor” epic in

Uzbek multiplication were expressed in the

developed perekladka technology, original paints

during this period. In the process, the film artist

M.Mahmudov appeals to miniaturists who represent

Eastern classical poetry, penetrating deeper into the

style of his image.

As a result, on the basis of the creative quest and

fantasy of the artist, the film “Bahrom and Dilorom”

is created in the style of Eastern miniature, which

expresses the soul of the saga, the artistic beauty of

the word art in it, elegance and charm. The personnel

of the film was depicted in bright colors, and the dress

of the heroes, and the architectural structures were

characterized in composition. In the film, Bahrom's

high love for Dilorom, his feelings, and his spiritual

experiences were manifested in his movement.

A suitable style was found by the artist to

represent the soul and senses of the heroes of the work.

Although the Film artist aspires to skillfully portray

the heroes of the literary work, but the presence of

interruptions in the movement of heroes is noticeable.

In the process, animators show that the image does

not feel spiritual when expressing the movement,

emotionality, and mimics of the hero of the work. The

skill and experience of the film animator are

determined by the actions of the created heroes.

In this animated film, high love, the suffering of

King Bahram, mental suffering and experiences, and

the expression of thoughts are revealed with the help

of visual means without excessive dialogues. In the

pen of the King Bahrom artist is a more purviqor

reflection with a magnificent appearance, a royal

dress on the shoulders, and a compact turban on the

head. In the film, the socio-political views of Alisher

Navoi are also reflected in the series. That is, the idea

that if the king goes to grief, junket, festivals, and

hunting, and forgets the fate of the people, kingdom,

and retail in the country, he will go to the height of

destruction is indicated in the personnel of the work.

Bringing up such glorious human qualities as deep

content, High ideas, philosophical, spiritual, and

ethic-aesthetic issues about existence, as well as

nobility, honesty, and justice raised in the works of

Alisher Navoi to the present generation in the

language of animation is an exhausting and at the

same time betrothal spiritual phenomenon.

Striving for the study of the great thinker's

heritage was of great importance in determining the

artistic expression of Uzbek animation, the system of

visual means, its symbolism, and its semantic

character. After all, the legacy of Alisher Navoi is an

invaluable source in the section of the so-called

Power, the multiplicity of thought, deep

meaningfulness in the image, and achievement of

polyphonic features, which is distinguished by the

same Uzbek national qualities as the first cadres.

Uzbek animators feel this deeply and seek to apply

more to this great legacy and achieve new artistic

discoveries.

The film "The Black Castle" is also directed by

the director and artist Created by M. Mahmudov, the

space and Heroes of creative film scenes tasvirini

represent the atmosphere of the era. The first staff of

the film starts with the lines of poetry in dostan, and

in the creativity of Oriental musicians, Navoi's

creativity is penetrated into the next staff by book

illustrations, which serve as a prologue. Such an

approach by the artist represented a lyric

characteristic of Navoi's creativity.

The scene of putting lipstick on May, when the

protagonist King Bahrom's lover Dilorom in the

Black Tower suffers in love, is expressed

impressively in the grand plan. Stage make-up

available details: black, and dark brown in the

National ornament of the Citadel, throne, and gate etc.,

this background is in harmony with the image of King

Bahram and the color of his dress. That is, the frame

is painted in black, depending on the content of the

work. The background of the dial is expressed mainly

in achromatic colors.

Under the direction of M.Mahmudov, the film

“Lion and Durroj” based on the epic “Hayrat ul-abror”

by Navoi was interpreted in unique colors. In this

philosophical didactic game, which characterizes

human nature in allegorical images of birds and

animals, one can think of the harmful consequences

of a false saying. The thoughtful content of the Epic

has acquired a bright poetic form on the animation

The Artistry in Uzbek Films Based on the Works of Alisher Navoi

1437

screen. He was brought to the audience in emotional

visual images, enriched with interesting adventures.

The thoughtful idea that the film is not worn out all

the time about the fact that a person is right in life,

truthful, and pure in thought and language, has

become relevant with its enormous educational

significance. The trend of shielding classical works

has been riveted and the masterpieces of the world's

classical heritage have also been addressed.

Animated work is represented in a bright colorite,

the events of the plot take place in a forest landscape.

In this card, the artist S.Silka relied on the director's

previous works in describing the image of Navoi and

his creativity in the first film. The film is made in

computer-based perekladka technology, the heroes

are depicted in an allegorical image. This film was

shot in chromatic colors, different from the artist's

previous works, and the image of the heroes was

represented by means of computer programs in a way

of reconstruction. The movement of the film plot and

images was manifested in a strong rhythm, and the

edges of the character characteristic of the images of

the heroes' mother “Lion and Durroj” were expressed

in their facial appearance.

The year of creation of this film (2010) another

film based on the epic “Farhad and Shirin”, which

glorifies high Love, was screened in A. Navoi

“Khamsa”. This epic scriptwriter E. Khasanova and

the director in the co-authorship of N.Tolakhodjayev,

the script and the artist A.Gvardin with the skill of

guardianship, the animation was interpreted on the

screen. High Love in the epic and the national

character was expressed in a peculiar style in the

movement of heroes. That is, Farhad will fight in his

own way and overcome any obstacles. This image is

reflected in the scene of the courage of Farhad, when

the sweet is flying in the horse, reaching the mountain

rock and remaining for some time to fall - raising the

sweet on his shoulders with the tulpor. In this frame,

the artist represents the image in an underground

manner, unlike the cartines of miniature artists of the

period when the film was shot, demonstrating the

power of Farhad. By interpreting such a picture, the

artist conveys to the viewer the movement of the hero.

Painter A.Gvardin in the process of representing

the curved epic through the means of images, in the

introductory part of the film, He relied on

M.Mahmudov's approach. This film also sought to

portray the image of Navoi in the exposition. But in

this scene, the artist tried to express the creativity of

The Thinker, although the features inherent in the

spirituality of Navoi did not find their expression. The

main characters of the work are Farhad and Shirin,

whose image was created in computer graphics, and

their appearance was expressed as the imagination of

the artist Guard. But the Sweet literature was not

represented in the image and dress typical of the army

nationality, as described in the work. In the process,

the artist feels that the daughter of the armyan and the

national dress are not well mastered.

It is also noticed that painter A.Guardi uses

gradient colors, which are available in computer

functions, while the dress of heroes and the image of

tulpor are limited to reddish colors, such as pink, and

red, and also the details on the background of the

scene are disproportionate to the style of the heroes,

for example, the image of the mountain, the steppe.

That is, the artist's representation of the details

available on the background of the staff in the process

through the image of photographs did not coincide

with the style of the film, that is, the drawing of the

heroes. This film A. It was one of the first films that

Guardin created in modern technology. In this respect,

it was noticed that not only the picture of the film but

also the presence of shortcomings in the expression

of the movement of heroes.

4 CONCLUSION

In conclusion, it can be said that the transfer of any

work to the cartoon language, especially the

expression of classical works through the means of

images, requires great skill and serious responsibility

from the creators. In this regard, it is recommended to

pay attention to the deep study of the characteristic

and traditional dress of the nation, when creating a

multiplicative film on the basis of our national

classical works, the movement of heroes, emotions,

mimics, intonation and visual appearance, expression

of the dress, artist-animators feel the image spiritually.

It is also offered:

- expression of thinker Alisher Navoi in Uzbek

multiplicity in a modern image and a combination of

different technologies based on parables in the epic”

Hayrat ul abror";

- in addition to the image of Alisher Navoi, the

creation of the image of such great creators as

Zahiriddin Muhammad Babur and Kamoliddin

Bekhzad on the screen of the multiplication is the

result of today's era.

Today, the desire and interest in creating films

rich in computer animations is growing, and

animators, animators are faced with serious

requirements and complex tasks. The main thing is

that in animation it is possible to create impossible

actions and effects. For the modern animation screen,

special effects are used to create images, images,

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

1438

events and happenings, and various movements. It is

also possible to fly, change shape, and recreate in its

magical world. The results of this are also noticeable

in the animated films created in our country.

As a result of the work carried out in Uzbekistan

to develop the industry, animated films in 2D and 3D

technologies are being created using special effects.

Based on the achievements of Uzbek animation over

the past period, over the past decade, Uzbek

animation has begun to create films using modern

technologies, in particular, special effects in

computer graphics.

E. Popov, a researcher, writes about the

application of modern technologies in the art of

animation, “a modern animated work as a wonderful

symbiosis represents all possible types of art and

technological innovations. These high concentrations

are artistic images and scientific achievements that

have a high impact on the spirit of the audience as a

stream that penetrates deep into the mind through

various ideas” [8.3]. For the modern animation screen,

special effects are used to create images, images,

events and happenings, and various movements. For

example, various cataclysms in nature (sudden

changes in nature, social life, upheavals, catastrophes,

catastrophes), fantastic fantasy characters, fictional

events, happenings, and actions - says M.Stepanova

[9.5]. Also, computer animation and special effects

for animators in the creation of animated films, the

pursuit of the ability to use new modern technical

means will further develop the industry.

According to Belgian director R.Serve, the

stylistic possibilities of computer animation are still

very limited and it will not replace the traditional

forms of animated films, but will evolve with them.

Animation is a form of visual thinking in which the

artist’s work is inextricably linked to his or her

professional technical knowledge.

The development of world animation and the

ongoing creative and technical processes have also

affected the art of Uzbek animation. A clear example

of this is the mastery of modern technical means for

the art of animation by the creators of our country.

This is a peculiar evolutionary process. Taking into

account the achievements of Uzbek animation over

the past period, in the next ten years, Uzbek animated

films will move to the creation of films using modern

technologies, in particular, special computer effects.

Focusing on the importance of special effects in

computer animation, the researcher S.Soltani writes

that at the initial stage, special effects of the computer

were a novelty that was surprising to the audience,

attracting attention and benefiting filmmakers.

Against this background, the special effects of the

computer are, on the one hand, a tool for enjoyment

and, on the other hand, an integral part of the

formation of a new type of human thinking. In this

sense, special effects have become an integral part of

modern cinema. Several animated films with special

effects are being created by existing animation

studios in our country. In particular, the fact that

private studios are creating films rich in special

effects and the growing demand for it is developing

healthy competition among existing studios. As a

result, the number of animated films rich in special

effects is growing. Examples are “The Cat with the

Light” (2), “Zoroaster” (2005), “The Fat Lover”

(2009), “The Brave Chef” (2018), “The Adventures

of Aqltoy” (2014), “Rustam” in 3D animation. and

Said ”(2015) and“ Kenja Botir ”(2017).

Among these films, the animated film "Dovyurak

Oshpaz" (2018) by director N.Tulahodjayev uses a

special effect to increase the sensitivity of the

characters. The first appearance of this in the work is

reflected in the film's exposition, in the effect of

"steam" coming out of a boiling kettle in the kitchen

- "fire" burning underneath. The use of effects in the

plot of the film is expressed following the style of the

work. Through these effects, the film's director, artist,

and editor tried to convey the plot dynamics of the

work more clearly and understandably. The film is

interpreted richly and interestingly in the fairy tale

genre. The protagonist of the picture, the Traveler,

remains able to understand the language of animals

due to a mysterious event. As a result, they come into

contact with animals such as mice, sparrows, cats,

ants, and turtles, which appear in the allegorical

image.

The film is about moral qualities such as kindness,

mutual assistance, love, and honesty. In the character,

movement, and dialogues of the protagonists of the

work, the actor is impressively expressed through the

rhythm of the voice, special effects, and music.

Among these tools, special effects are of particular

importance and serve to increase the sensitivity in the

expression of plot events. As S. Stoltani writes in his

research, special effects are technical tools used in

cinema that serve to create images that are not present

in reality on stage and can create the illusion of reality

in the viewer. For example, various natural disasters,

fantasy characters, random non-existent events,

happenings, and actions.

The Artistry in Uzbek Films Based on the Works of Alisher Navoi

1439

REFERENCES

Mirzamuhamedova, M. (2014). Uzbek animation.

Tashkent: Classical Word Publishing House, 96.

Haydarova, N. (2021). Modern animated films of

Uzbekistan. Tashkent: San’at, 62.

Haydarova, N. (2021). The creativity of the prominent

representative of Uzbek animation Mavzur Mahmudov.

Tashkent: San’at, 86.

Kadirov, B., & Karimova, N. (2020). The elements that

make the visual expression of the feature film.

ACADEMICIA: An International Multidisciplinary

Research Journal, 10(10), 228-236.

Popov, E. A. (2011). Animation production: typology and

evolution of imagery. Author's abstract of the

dissertation for the degree of Candidate of Arts.

Moscow: VGIK.

Stepanova, M. A. (2005). Computer special effects on the

material of the Hollywood cinema of the last decade of

the XX century. Author's abstract of the dissertation for

the degree of Candidate of Arts. Moscow: VGIK, 32.

Asenin, S. (1983). Mudrost vymysla. Mastera multiplikatsii

o sebe i svoem iskusstve. Moscow: Art, 20.

Soltani, S. X. (2003). Traditsii natsionalnoy kultury i

sovremennыe kompyuternye teknologii v

animatsionnom iskusstve. Author's abstract of the

dissertation for the degree of Candidate of Arts.

Moscow: VGIK, 20.

PAMIR-2 2023 - The Second Pamir Transboundary Conference for Sustainable Societies- | PAMIR

1440