Variety and quality
These are the two axes that define Uzbek craftsmanship. A wide choice of materials: steel, wood, silk, cotton, terracotta, paper... Uzbeks work with all the resources produced by or passing through the country. Over the centuries, they have succeeded in preserving traditional motifs, methods and techniques, most of which are passed down from father to son within family lines that have chosen culture and know-how, whether in tapestry, cutlery, embroidery or illuminations and miniatures. It was a long struggle to keep them going under Soviet rule. Today, in Ferghana, Gijduvan and Bukhara, well-established craftsmen open schools, train apprentices and host master classes for tourists, enabling them to discover the treasures of Uzbek culture.
On the jewelry side
The khan's wives could be repudiated at any time. So, like the nomads, they carried their wealth with them: several dresses and cloaks strung one on top of the other, along with their jewels, which were supposed to protect them. Bracelets, earrings, tiaras and pectorals were made of chased silver, gilded with fine gold and inlaid with semi-precious stones (carnelian, turquoise, coral, pearls, rubies).
Brides were covered in jewels: diadem covering the silk headdress, itself adorned with pendants, bracelets, large earrings, nose rings, necklace, amulets and pectoral. A famous riddle illustrates this practice in Central Asia: " Who is the most beautiful bride? The one who can't walk alone, because she's too laden with jewels ". Today, goldsmithing is no longer as representative of Uzbek craftsmanship. Nevertheless, a few antiques and reproductions can be found.
Ceramic
It was under the Timurids that the art of ceramics reached its apogee. During his conquests, Tamerlane spared the best craftsmen and brought them back to Samarkand, where they swelled the ranks of his builders. The necropolis of Shah-i-Zinda is the most striking illustration of the skills and innovations of these craftsmen: polychrome glazed tiles, painted motifs on or under the glaze, mosaics of fine chiselled pieces of glazed ceramic, or molded, sculpted and then glazed terracotta. The secrets of manufacture and glazing were passed down from father to son, each region possessing its own colors and motifs.
The tableware is inspired by these motifs, or by fabric prints (batik), for its decorations featuring pomegranates or views of the most famous monuments (Registan, Ichan Minor...). Plov dishes, teapots and tea bowls are the most common. A heritage crafts center (Rishtan Ceramic Center) showcases the work of talented artisans opposite the main entrance to Tashkent's Chorsu market.
Ikate silk
In the bazaars of Central Asia, ikate silks are gradually being replaced by poor synthetic imitations imported from China. In the last century, becassab and khan-atlas from the Ferghana Valley, Samarkand and Bukhara were among the most sought-after goods for Russian buyers. After the Bolsheviks came to power, "liberated" women and craftsmen were more useful in the cotton fields than at the looms. As a result, this craft was outlawed, and ancestral techniques were all but lost. It wasn't until the 1950s that the Soviets revived industrial silk production in the Ferghana Valley. Today, there are once again artisanal factories (including Yodgorlik in Marguilan and Tim Abdullah Khan in Bukhara) that use traditional techniques and sell their products. Fabrics are woven by hand, with warp threads colored in a stylized floral pattern obtained by reserving ligatures before weaving. The motifs are inspired by ancestral symbols, both geometric and floral, believed to protect against the evil eye: tulips, peppers, poppies, butterflies, peacock tails and scorpions.
A legend tells of the origin of these ikate fabrics. A young man in love with a young princess longed to marry her. The khan had promised that his daughter would be given in marriage to whoever could make the most beautiful dress. Day and night, the young man began to weave. The silks he proposed were each more beautiful than the last, but the khan refused them every time. In despair, the young man went to the shores of a large lake and tried to drown himself. Blood flowed from his weaving-worn fingers. It mixed with the water of the lake, the reflection of the trees and the blue of the sky. These colors blended so harmoniously that he decided to reproduce them on his loom. Finally, the khan marveled at the beauty of the fabric and allowed him to marry his daughter!
Suzanis and Gulkurpas
Embroidery is a women's craft. They would spend years embroidering huge panels of fabric, worked into long strips which they would then assemble. The most common embroidery stitches were bosma (satin stitch), yurma (chain stitch),iroki (cross-stitch) and khamdouzi (double satin stitch). Originally, suzani and gulkurpa were used to cover the beds of newlyweds, essential components of the bride's dowry. Later, they were used as wall panels.
The symbols depicted varied from region to region, but always had a protective role. On newlyweds' bedspreads, the tree of life (symbol of fertility) was accompanied by a rooster (harbinger of the sun and the end of darkness) to ward off evil spirits. Another frequent motif on oï-paliak is the circle, the Zoroastrian symbol of the universe, inscribed in a rectangle. As with ikate fabrics, the stylized bestiary of protective animals is widely used: snakes, scorpions, frogs, etc. The Sitora-i-Mokhi-Khosa palace museum, near Bukhara, boasts an important collection of suzani and gulkurpa, many of which are true masterpieces.
The carpets
Carpets are usually named after their place of manufacture or sale. This is the case of bukharas, which generally came from Turkmen tribes but were sold at the Bukhara bazaar, one of the largest carpet sales centers in Central Asia. Carpet-making was reserved for women and girls. Techniques were passed down from mother to daughter, with children learning to weave from the age of 8. It took 25 years of experience to become an accomplished weaver.
The color red, symbolizing fertility and prosperity, was the most widely used, not only for its symbolic value but also because this natural dye, extracted from madder, grew in abundance in Central Asia. The decoration consisted of a central field with medallions and borders. The earliest carpets never had more than three borders, but by the 19th century, there could be as many as 12. The quality of carpets also declined with the advent of aniline dyes and the tightening technique, now achieved by packing the weft and pile in place of the finer yarns previously used. Carpets lost the richness of their natural colors and their suppleness. As nomads became sedentary farmers, family traditions were lost. Production slowed and symbolic motifs were gradually replaced by purely decorative ones.
The miniatures
In Islamic art, the term "miniature" is reserved for figurative illustrations and "illumination" for abstract decorations. Miniatures developed from the early 13th century onwards.
In Uzbekistan, the Timurid era (1369-1507) saw the growth of an important literary tradition. Tamerlane transferred the best artists from Baghdad to his capital Samarkand. His first descendants appreciated and supported painting and calligraphy. During the reign of Ulugh Beg (1409-1449), several important manuscripts were commissioned, including an astronomical treatise by Al-Sufi, theBook of Fixed Stars (c. 1437), with representations of constellations. The astronomer prince's fabulous library was destroyed just after his death, and the vast majority of the works it contained were burnt.
The advent of the Chaybanid dynasty in 1507 marked its revival. A patron of the arts and a poet capable of composing in both Turkish and Persian, Mohammad Shaybani rebuilt a major library in Samarkand. But it was in Bukhara, his capital, that he brought together the best artists and calligraphers of his time, all from Herat, such as the calligrapher Mir Ali and the painter Sheikhzadeh, one of the best pupils of Behzad, the great master of the period who inspired a style of Persian miniature. Even today, the tradition of miniature painting is widespread in Uzbekistan, and you'll meet many talented craftsmen.
A few tips before you check out
Before embarking on a shopping spree, bear in mind that Uzbeks have been merchants for 5,000 years, and you'll need to take this into account when negotiating... Remember: everything is negotiable. In Bukhara, you can still buy souvenirs and handicrafts, but beware of scams. There are many stores selling "Bukhara carpets" made in Iran (at best), China or India, junk jewelry, fake Soviet-era souvenirs..
Take your time, don't be pressured into buying, compare, go into different stores and, if possible, check the quality and origin of the products. The best way to encourage local craftsmanship is certainly not to endorse counterfeits! If you're on a tight budget, as the price of carpets or miniatures can run into hundreds or even thousands of euros, you should be aware that craftsmen often have apprentices who also sell their work for much more attractive prices.
