Editing Dushanbe (section)

=== Visual arts ===

Sculpture was first introduced to Dushanbe in the 1920s and throughout the Soviet period was focused on combining modern culture and a classical heritage. Modern sculpture mainly has historical subjects like [[Ferdowsi|Firdavsi]], [[Khosrow I|Shah Anushirvan]], or [[Ismail Samani]], often to commemorate Tajik nationhood and ethnicity by looking to past Achaemenid and Samanid figures.<ref name="Dushanbe Encyc-2004k">{{Cite book|url=https://www.worldcat.org/oclc/65068362|title=Dushanbe : ėnt︠s︡iklopedii︠a︡|date=2004|publisher=Glavnai︠a︡ nauchnai︠a︡ redakt︠s︡ii︠a︡ Tadzhikskoĭ nat︠s︡ionalʹnoĭ ėnt︠s︡iklopedii|others=Dinorshoev, Muso.|isbn=5-89870-071-4|location=Dushanbe|chapter=Fine and Decorative Applied Arts|oclc=65068362|archive-url=https://web.archive.org/web/20101028115236/http://dushanbe.tj/img/ENS.doc|archive-date=28 October 2010}}</ref><ref name="Hughes-2017" /><gallery mode="nolines" widths="170" heights="170" class="center" caption="Statues in Dushanbe">
File:Монументальный ансамбль.JPG|Statue of [[Rudaki]]
File:Умари Хайём (4).jpg|Statue of [[Omar Khayyam]]

File:Dushanbe Lenin.jpg|Statue of [[Vladimir Lenin|Lenin]]
File:Монумент Авицене.JPG|Statue of [[Avicenna]]
</gallery>Painting in Dushanbe took off when Russian painters moved to this city in the 20s and 30s. By the 50s, Tajik artists started to paint. In the 1960s, the severe style <small>[<nowiki/>[[:ru:Суровый стиль|ru]]]</small> grew and in the 70s and 80s a focus on [[History of Tajikistan|Tajik heritage]] and [[nationalism]] was predominant. In the late 80s, however, painting shifted from a focus on historical figures to emotional depth and personality. During the civil war, a theme of conflict in painting developed.<ref name="Dushanbe Encyc-2004k" /> Sabzali Sharipov's black and white series, for example, was devoted to the civil war.<ref>{{Cite web|last=Ulugova|first=Lola|date=January 2020|title=Tajik Artists Lead Social Change: The Role of Art in Questioning Tajik Traditional Values|url=https://centralasiaprogram.org/wp-content/uploads/2020/02/CAP-Paper-227-Lola-Ulugova.pdf}}</ref>