ALL
traditional craftsmanship
ICH Elements 20
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Zardozlik (gold embroidery)
Type of traditional embroidery which was widely spread in applied design art of Uzbekistan, Gold embroidery was revived at the middle of XXth Century. It's formation goes back to ancient history. At the end of the XIX – beginning of the ХХ century especially Bukhara was the center of crafts associated with gold embroidery. Notably, at that time gold embroidery was mostly dealt by men. But in some cases, when there were more orders than expected, women (who were close relatives of gold embroiderers) could act in the role of assistants. Bukhara gold embroiderers applied several methods of embroidering. These were: 1) "zardozi-zamindozi" – solid embroidering of the background with gold threads 2) "zardozi-guldozi" – embroidering based on design (image), which is cut out from paper 3) "zardozi-guldozi-zamindozi" – a combined method of embroidering, which unites the above-mentioned two methods 4) "zardozi-berishimdozi" –combined embroidering 5) "zardozi-pulakchadozi" –gold embroidering with spangles. Ornamentation in gold embroidery was predominantly of vegetative nature. Geometric patterns were used less often. Main motifs were rosettes, palmettes, bushes, trees, branches, flowerpots with flowers, almonds, pomegranates, cherries and grapes. Usage of certain vegetative motifs, for example, of "guli-chinni" (chrysanthemum), "guli-qashqari" (Kashgar flower), testify to the fact that pictures of Chinese porcelain (since ancient times it was imported to Central Asia and was popular among elites of Bukhara in the XIX – beginning of the XX century), were borrowed and adapted by Bukhara gold embroiderers.
Uzbekistan -
Jewelry art
Jewelry is a type of decorative and applied art: the manufacture of art jewelry, household items and others from precious metals (gold, silver), often in combination with precious and crafting stones, as well as artistic products from other metals (bronze, copper), made with fine craftsmanship. Jewelry art is one of the most ancient types of folk art of Uzbekistan, which has retained its vitality to this day. Major centers of this art in the XIX-ХХ centuries were located in Bukhara, Khiva, Tashkent, Samarkand, Margilan, Qoqand, Qarshi, Shahrisabz and Kitab. Depending on the functional purpose, jewelry can be divided into several types. Sometimes jewelry, used for the same functional purpose but created in different regions of Uzbekistan, bore different names.
Uzbekistan -
Stone carving
Stone carving (stone cutting) is an ancient art of Uzbeks as well. Artefacts found during archaeological excavations say, that the very first treated stones in Uzbekistan belong to the Paleolithic, Neolithic and Bronze Age. The masters of those times knew how to process the stone, knew the techniques for transporting heavy solid stones, used lever devices to lift them, knew which stones were lighter and which were more difficult to process, already had tools to give pattern and relief to the stone. Their wide use of granite, marble, limestone and gypsum is indicated by excavations of ancient monuments in southern Uzbekistan - in the towns of Koratepe, Fayaztepe, Ayritash. Here Buddhist temples were decorated with carved stone, sculptures were created from stone. Later, stone cutting became a craft, and the art of stone carving reached its height in Maverannahr, Khorasan, Khorezm and other territories. For example, during the reign of Amir Temur, architectural masterpieces such as Gor-Emir, Shahi-Zinda, the Bibihanum mosque, the Ahmad Yassawi mausoleum and much more were created, where magnificent sculptures and carved stone with letters are presented. The displaced stone is magnificent - the tombstone of the great Temur and the grates carved from marble in Gori Emir. A lot of stone and marble was used in the architecture of ancient Khiva. The entire foundation of the palaces is laid out there by them, and they are all carved from geometric and floral figures. The stone-cutting walls of the Khiva Palace of Tashavli can be considered a magnificent example of beautiful stone carving, it is therefore called the Stone Courtyard. There are several types of stone carving: line threads, chain, lattice, deep, multi-layer, flat threads, etc. It also matters which stone works with - soft, pliable, medium hardness or hard.
Uzbekistan -
Hwalssogi(Archery)
National Intangible Cultural Heritage, Republic of Korea Archery is a cultural phenomenon occurring around the world. It has been continuously practiced in Korea from ancient times to the present. The Korean form of archery shows distinctive characteristics in the crafting of bows and arrows, physical skills in shooting arrows with a bow, and the mental preparations for archery. Records on archery can be found in materials from the Three Kingdoms period and later. These materials include government documents, personal collections of writings, and genre paintings. They play an important role in advancing research on the history of the martial arts. People in Korea still perform archery as a sport or pastime using bows and arrows made from mulberry wood, buffalo horn, and ox tendons to provide exceptional elasticity. Archery has long been established as a popular form of public physical activity nationwide. * As archery is not a skill or art relying on particular individuals or groups for its transmission, the designation of this element took place without recognizing particular holders or holder groups. This designation only applies to the type of archery practiced in a standing position (bosa 步射), the most popular form of archery in present-day Korea.
South Korea
ICH Materials 163
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Kazakh Jewelry: Continuity of Nomadic TraditionsThe Kasteyev State Museum of Arts in Almaty has gathered a unique collection of Kazakh jewelry made during the eighteenth through twentieth centuries. These examples vary in form, type, and technique. The distinctive features commonly found on Kazakh jewelry make them true masterpieces which reflect a specific philosophical understanding of the world and demonstrate the great artistic abilities of the Kazakh people. Indeed, every element that comprises an individual piece of Kazakh jewelry, including its form, details, the material it was produced from, and patterns, has a specific purpose and meaning.\nKazakhstan’s abundant supply of nonferrous and precious metals, including gold and silver, encouraged the development of its metalwork for millennia. Casting, forging, molding, stamping, and embossing techniques emerged as early as the second millennium BC, during the Bronze Age, as did signatory traditional designs for jewelry worn by the Kazakhs both historically and today. Saka treasures discovered in different areas of Kazakhstan—the Issyk Kurgan and the Besshatyr, Kargaly, Altyn-Emel, Tagisken, Uigarak, and Berel burials—are true masterpieces.\nBy studying jewelry, scholars can discern a great deal of important social, economic, and cultural information about the people who wore them. The style of jewelry changed during the Migration Period when the Huns moved westward from 47 BC until the fourth century AD. Artisans applied fine metalwork to nearly all objects where metal was used, from jewelry and household items to harnesses.Year2022NationKazakhstan
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The Art of Embroidery: Subregional Networking on Multinational NominationThe art of embroidery is one of the ancient traditions of applied and decorative arts in Central Asia. The uniqueness and beauty of Central Asian embroidery, the abundance and diversity of its ornaments and techniques testify to the rich traditions of this art. Embroidery is widespread mainly in trade and handicraft cities and large villages along the Silk Roads in Central Asia. Each existing traditional schools have a unique symbol, style and color balance based on local knowledge and social practices.\n\nEmbroidery is common activity among women in Central Asia. Traditionally, women and girls embroider individually and in groups. Embroidery is passed down from generation to generation, mainly from mother to daughter, in the form of master-apprentice schools. Indigenous population in Central Asia wear embroidered items, it serves as a symbol of their devotion to their homeland and culture. It is especially found at craft fairs, festivals, contests, weddings and social festivities.\n\nNetworking on elaboration of the multinational nomination “The Art of Embroidery” in Central Asia was initiated by the NGO “Living Heritage” of Uzbekistan (“Umrboqiy Meros”) in May 2019. Main objectives of the networking were to strengthen collaboration among scholars and artisans in Central Asia and to promote joint safeguarding activities by inventory of traditional schools on art of embroidery in Central Asia.\n\nAd hoc working group has been created, which consisted of representatives from ICH stakeholders (governmental and non-governmental organizations, artisans and scholars) from Kazakhstan, Tajikistan and Uzbekistan. Offline and online meetings of the working group were organized from May 2019 to March 2020 on the monthly basis. In every meeting experts exchanged views on current status, development perspectives and safeguarding challenges of the art of embroidery in their countries.\n\nIt has been observed that element is practiced and transmitted almost in all the regions of three countries: Uzbekistan (especially in the centers of artistic embroidery such as Djizak, Fergana, Namangan, Nukus, Nurata, Bukhara, Samarkand, Shakhrisabz, Urgut, Tashkent, as well as other rural areas), Tajikistan(mostly in Dushanbe, Khujand, Kulob, Istaravshan, Bokhtar, Panjakent, Hisar, Gharm, Darvaz, Khorogh, as well as other cities and regional centres) and Kazakhstan (Eastern/Altay, South-Eastern/Almaty and Nothern/Mangystau and since last century in Western parts of the country). Annually, traditional textile festivals in Central Asia are being organized in Kazakhstan (“Korpefest”, “Kazakhstan oneri”, “Altyn sapa”), Uzbekistan (“Atlas Bayrami”, “Silk and Spices”, “Altin Kul”, “Raks Sekhri”, “Boysun Bahori”) and Tajikistan (“Diyori husn”, “Taronai Chakan”, “Idi Atlas”), where many masters from these countries and also from various regions of Central Asia participate and display their handmade art products. This kind of cultural events are proper places for exchanging knowledge and establishing dialogue among societies, groups and individual masters.\n\nThe multinational nomination “Traditional embroidery of Central Asia” was successfully completed and submitted to the UNESCO Headquarters in Paris in March 2020 by the National Commission of Uzbekistan for UNESCO. The nomination will be examined by the ICH Intergovernmental Committee in 2022.\n\nAs follow up activity, following institutional members of the working group became coordinators for ICHCAP/IICAS Survey Project on Silk Roads Handicrafts Workshops, which was started in July 2021: Kazakhstan National Committee for the Safeguarding of the ICH, Institute of Culture and Information of the Ministry of Culture of the Republic of Tajikistan and NGO “Living Heritage” of Uzbekistan.\n\nphoto : © Lutfiya MirzaevaYear2021NationCentral Asia