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The purpose of this publication is to show the historical dynamics of a balance between hedonistic and ascetic origins in the art of Uzbekistan with reference to the material from the entire Central Asian region from ancient times to the present.
As the scope of one article does not allow doing this comprehensively, we represent the content in three parts. This is the first part, dedicated to pre-Islamic art in Central Asia. Although the Soviet ideology was fairly tolerant to the art of antiquity or European Renaissance with their emphasis on sensual pleasure, still the theme of hedonism was unofficially tabooed.
This was due to the historic aversion of the Bolsheviks to sensual pleasure as an attribute of a feudal or bourgeois culture corrupted by luxury and bodily pleasures — the culture in opposition to the popular, advanced and morally elevated spiritual tradition. In the s s this stance was transformed to interpret hedonism as a synonym to pornography undermining fundamental values of a socialist individual, and thus as an immoral lifestyle typical of the consumer society of the West.
After the collapse of the Soviet empire, there was a corresponding change in attitudes towards hedonism as the culture of pleasures. In the meantime, each of the post-soviet states, despite their common strategies commitment to liberal values, market economy, and civil society had very specific features of nation-building associated with the historical and cultural specificities of national mentality.
