ARTISTIC DIALOGUES BETWEEN EAST AND WEST: UZBEK PAINTING IN THE 1970S–1980S

Purpose of the research: This article examines the discourse of West-East interactions in Uzbek painting of the 1970s–1980s. It explores how national identity, modernist trends, and ideological influences shaped artistic expression during this period. The study highlights the synthesis of local traditions with Western modernism and its impact on the visual language of Uzbek artists.

Research methods: The research employs discourse analysis, drawing on the theories of M.M. Bakhtin and Michel Foucault. A comparative approach is used to investigate the intersection of Soviet artistic policies, national heritage, and global artistic movements. The study also includes visual analysis of selected works, archival materials, and artist interviews.

Research results: The study reveals that Uzbek painting of the 1970s–1980s was a dynamic field of cultural negotiation. Artists reinterpreted national artistic traditions while integrating elements of European modernism, creating a distinctive visual discourse. Their works reflected evolving notions of identity and responded to ideological constraints through metaphor and symbolism.

Practical applications: The findings contribute to the broader study of post-Soviet art history and discourse analysis in visual culture. Understanding the artistic dialogue of this period provides insights into contemporary artistic developments in Uzbekistan and Central Asia, informing curatorial practices, academic research, and cross-cultural artistic collaborations.