ALL
traditional craftsmanship
ICH Elements 20
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Kandakarlik (hammering and engraving on metal)
By the beginning of the 1970s the number of Kandakar masters and centers of engraving sharply reduced. Production of engraved items suspended in many centers of Uzbekistan. At present, however, centers of engraving are being revived and the system of apprenticeship is being re-introduced. Nowadays, the masters of traditional engraving work in such cities as Tashkent, Shakhrisabz, Qoqand, Ferghana, Bukhara and Khiva. Also a new phenomenon emerged, i.e. masters of engraving began to participate in designing the interiors of religious buildings (mosques, madrasahs), cafes and teahouses (which are usually designed in a traditional style). Changes are observed in the ornamental designing as well. For example, engravers try to improve further the designs of the items produced by them, by including new patterns and by applying the technique of incrustation with semi-precious stones. Within the framework of measures to create new jobs, develop tourism, promote small business and craft production, the state also pays attention to the development of this type of craft and art. This is manifested in tax preferences, the provision of free conditions and other innovations.
Uzbekistan -
Wood carving art
The art of wood carving in Uzbekistan is part of the Central Asian artistic heritage and its origins date back to ancient times. In the traditional architecture and life of the peoples of Uzbekistan for a long time, carved wood was very popular. In architecture, it was used as important architectural details and structures such as columns, cornices, doors, ceilings, and gratings. The use of carved wood in everyday life, or as it is also called household carving, absorbed a wide range of objects from furniture to small household utensils. Local wood species were used as a material: plane tree, elm, walnut, juniper, here, apricot, poplar, tal, pear, quince, cida, which differ in a variety of texture and pattern. When decorating various household items, furniture and musical instruments, the craftsmen used ornamental carving, painting and inlay. The main centers of woodcarving art are Khiva, Urgench, Bukhara, Samarkand, Tashkent, Qoqand, Margilan, Andijan, Fergana, Shahrisyabz etc.
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 -
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
ICH Materials 163
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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
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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