This article explores the challenges associated with the use and understanding of fine arts terminology in art education, with a particular focus on the Uzbek language. It argues that the aesthetic development of students and the effectiveness of art education are closely tied to the art historical culture and linguistic competence of teachers. One of the central issues identified is the lack of a standardized and comprehensive dictionary of fine arts terms in Uzbek, which leads to inconsistencies in teaching and student comprehension. Many terms are borrowed from Russian or other foreign languages, often without proper adaptation or contextual explanation, resulting in conceptual confusion in the classroom. The study highlights the importance of etymological analysis as a pedagogical tool to explain the origins, meanings, and appropriate use of fine arts terminology. It presents a methodology based on categorizing and analyzing terms across different branches of visual arts-such as painting, graphics, sculpture, composition, and art history-and emphasizes the value of linking linguistic understanding to practical artistic activities. Examples from experimental lessons in Tashkent schools illustrate how students can expand their artistic vocabulary and better understand core concepts when terms are taught systematically and contextually. Ultimately, the article calls for the creation of a terminological framework and explanatory dictionary for fine arts in Uzbek, as well as enhanced teacher training in the linguistic aspects of art education. Improving the quality and consistency of terminology use is presented as a key factor in strengthening students' theoretical and practical knowledge, promoting artistic literacy, and fostering a deeper appreciation of visual arts.
Sunatulla Аbdirasilov (Tue,) studied this question.