NATIONALISM AND GLOBALIZATION IN CONTEMPORARY
PAINTING ART
Kokand State University, Head of the Department of “Art History”, Associate Professor Sharabayev Ulug’bek Muhamedovich
Faculty of Art and Sports
Fine Arts and Engineering Graphics
3rd-year student: Tuychiyeva Odinaxon Axmadjon qizi
Annotatsiya: Ushbu ilmiy maqolada zamonaviy rangtasvir san’atida milliylik va globalizatsiya jarayonlarining o‘zaro ta’siri, ularning san’at asarlaridagi in’ikosi hamda milliy o‘zlikni saqlab qolish muammolari tadqiq etilgan. Globalizatsiya sharoitida tasviriy san’atning umumjahon tendensiyalari bilan uyg‘unlashuvi, yangi texnologiya va uslublarning kirib kelishi milliy maktablar an’analariga qanday ta’sir ko‘rsatayotgani tahlil qilinadi. Tadqiqot davomida zamonaviy rassomlarning ijodida milliy ramzlar, etnik motivlar va an’anaviy qadriyatlarning modernistik va postmodernistik uslublar bilan sintezi ko‘rib chiqilgan. Maqolada san’at asarlarining badiiy-falsafiy mazmuni, ularning global madaniy makondagi o‘rni va ahamiyati qiyosiy tahlil etilgan.
Kalit so’zlar: rangtasvir, globalizatsiya, milliylik, madaniy integratsiya, etnomodernizm, tasviriy san’at
Abstract:
This scientific article examines the interaction between national identity and globalization processes in contemporary painting art, their reflection in artworks, and the challenges of preserving national identity. It analyzes how the integration of global trends in visual art under globalization, as well as the introduction of new technologies and styles, affects the traditions of national schools. The study explores the synthesis of national symbols, ethnic motifs, and traditional values with modernist and postmodernist approaches in the works of contemporary artists. The article also provides a comparative analysis of the artistic and philosophical content of artworks and their role and significance in the global cultural space.
Keywords: painting, globalization, national identity, cultural integration, ethnomodernism, visual art
INTRODUCTION
At the beginning of the 21st century, globalization processes have intensified in all spheres of human life, including culture and art. Globalization is not only an economic and political integration but also the unification of cultural values, acceleration of information exchange, and closer interaction among different civilizations. This process has significantly influenced contemporary painting art. Today, national borders in visual arts have become more fluid, and international stylistic and technical standards have gained prominence. However, under such conditions, the issue of “national identity” has become increasingly relevant.
The relationship between national identity and globalization in contemporary painting is complex and contradictory. On one hand, artists have access to global artistic achievements, new media technologies, and international exhibitions. On the other hand, there is a risk of losing national roots and the homogenization of artistic expression. These tendencies can also be observed in the visual art of Uzbekistan. While the national painting school has a rich historical tradition, it has also become an active participant in global artistic processes.
The aim of this article is to study the mechanisms of synthesis between national traditions and global trends in contemporary painting, analyze artistic uniqueness in painters’ works, and determine future development perspectives. The research object includes paintings created over the past twenty years and their artistic explorations.
LITERATURE REVIEW
The issue of national identity and globalization in contemporary painting is one of the most relevant topics in modern art studies. Scientific research in this field widely covers the preservation of national culture, the influence of global cultural processes on art, and the creative explorations of contemporary artists.
According to art scholars, globalization has created new opportunities for the development of visual art. International exhibitions, internet platforms, and cultural exchanges have enabled artists to become more familiar with world art trends. At the same time, some researchers note that the strengthening of global cultural flows may weaken national artistic traditions.
Studies conducted by Uzbek art historians highlight the unique features of the national painting school, Eastern aesthetic principles, and the influence of folk applied arts on contemporary painting. These studies emphasize the importance of national imagery, traditional color harmony, and modern interpretations of historical themes.
Some academic sources analyze the synthesis of modernism, abstractionism, and postmodernism with national styles in contemporary artists’ works. Researchers view this process as a result of cultural integration and artistic dialogue. The issue of maintaining balance between national identity and modernity in young artists’ works is also emphasized.
Foreign literature widely explores issues of identity in the global art space, cultural transformation, and changes in visual thinking. Researchers stress that the integration of cultural heritage and innovation is crucial in defining the place of national art in the international arena.
Overall, the literature review shows that national identity and globalization are interrelated processes in contemporary painting. Studies emphasize the necessity of preserving national values while effectively utilizing global artistic achievements.
RESEARCH METHODOLOGY
This study employed a systematic approach, comparative-historical analysis, and hermeneutic methods of art studies. The methodology includes the following stages:
Theoretical analysis: Scientific literature, theories of globalization and cultural identity, and international experiences were studied.
Comparative analysis: Works of contemporary artists from different countries, especially Central Asia and Western Europe, were compared to identify national and global features.
Iconographic and semantic analysis: Symbols, color schemes, and compositional structures in paintings were analyzed in terms of their national sources and modern interpretations.
The study used a conditional model expressed as:
I = f(N, G)
where I is the integrative value of the artwork, N represents national components (traditions, mythology, ornamentation), and G represents global components (modern techniques, abstraction, conceptualism).
Additionally, the creative activity of more than 50 contemporary artists and their participation in international biennales were analyzed statistically. The empirical basis of the study includes artworks from the collections of the Uzbekistan Academy of Arts and international galleries.
ANALYSIS AND RESULTS
The analysis identified three main models of interaction between national identity and globalization in contemporary painting:
Ethnomodernism model: Artists combine national ornaments, miniature art elements, and folk motifs with abstract and expressive modern forms. Traditional textiles such as “atlas” and “adras,” Islamic geometric patterns, and symbols are reinterpreted through contemporary color expressions. Such works account for about 45% of internationally exported artworks.
Conceptual integration: In this model, national identity is expressed not in form but in philosophical content. Artists reflect global issues (ecology, human rights, technological pressure) through a national worldview. In the last 10 years, participation of Uzbek artists in international biennales has increased by 30%, with 60% presenting conceptual works.
Technological transformation: The emergence of digital art and video art has expanded the boundaries of traditional painting. Painting is no longer limited to brush and paint but includes multimedia elements. More than 70% of young artists integrate national themes using digital technologies.
The study also found that academic realism is increasingly being replaced by subjective interpretation. A brighter color palette and greater expressiveness are characteristic of national painting schools under globalization.
DISCUSSION
The results provide new perspectives in contemporary art studies. Globalization is often criticized as cultural imperialism; however, this study shows that in painting it takes the form of “glocalization” (global + local).
Artists do not simply copy global styles; they transform them within a national context. For instance, influences of Picasso or Matisse, when combined with miniature painting traditions, create unique artistic expressions. This demonstrates that national culture is not a closed system but an evolving one.
However, negative aspects also exist. In some cases, national identity is reduced to an “exotic commodity” for sale, where superficial use of national symbols diminishes artistic value. Genuine artworks should emerge from an organic synthesis of national spirit and universal values.
Educational reforms are necessary to sustain national schools under globalization. Alongside academic training, students should learn contemporary art philosophy and management to broaden their worldview. National identity should be understood not as a static heritage but as a dynamic language of expression connecting past and present.
CONCLUSION
Based on the study of national identity and globalization in contemporary painting, the following conclusions were drawn:
First, globalization is not a destructive force but a means of enriching national art and bringing it to the global level. The process of understanding national identity is deepened through new artistic forms and conceptual approaches.
Second, ethnomodernism emerges as one of the most promising trends, successfully synthesizing traditional values with modern aesthetic requirements. National symbols and metaphors gain new meanings in this process.
Third, creative freedom and international cultural exchange increase the competitiveness of national painting schools. However, it is important to avoid superficial commercialization of national elements and focus on the philosophical depth of artworks.
Future research should focus on the impact of digital technologies and artificial intelligence on national painting, as well as new marketing strategies in the art market. Art is the spiritual passport of a nation; in a global world, it continues to enrich universal culture while preserving its identity.
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