Visit Uzbekistan Issue 32 by Visit Uzbekistan Magazine

2022 • No. 32

Life is a Journey

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A PARTNERSHIP FOR TOURISM GROWTH Now your favourite magazine Visit Uzbekistan offers original experience tours to the regions of Uzbekistan. Discover Uzbekistan with our Editor-in-Chief Dinara Dultaeva. Off the beaten track experiences with immersion into culture, art, history, gastronomy and authentic lifestyle of local people.

LIFE IS A JOURNEY. LET’S MAKE THE MOST OUT OF YOUR TIME IN UZBEKISTAN.

To learn more about our unique approach to travel or discuss a customised tour for you please contact us: Tel: +998933900098

Email: info@dinara.co

2022 • No. 32

Editor-in-chief Dinara Dultaeva Editor Megan Eaves Project Manager Sabina Odinayeva Graphic designer Avaz Abduraimov, Feruza Latipova Sales & Distribution Madina Abdukadirova PR Department Ekaterina Ustinenko This edition of Visit Uzbekistan is very artistic. We believe that people and art make places what they are. Art is something that remains through time. It inspires, allures and makes us feel alive. And Uzbekistan is a country rich in artistic traditions as well as modern art that speaks about our rich culture and history. We have packed this spring issue full of art and we hope that it’s particularly inspiring. If you want to immerse yourself in the artistic life of Uzbekistan, discover several of our top contemporary artists on p.38. We’ve rounded up some of the best creative masterclasses on p.15, p.51 and even have a feature on unusual chess-set makers on p.54. But fear not. This issue also has all of our traditional features, from the historical (p.20) and nature attractions (p.12), to must-visit events (p.8) and highlights from our recent cultural evening (p.16). We hope our content continues to inspire you to travel and discover this wonderful country. Because inspiration is paramount and makes a difference in our lives. Stay tuned, stay inspired with us. Dinara Dultaeva

Contributors Farangiz Salokhodjaeva, Shodiya Khamidullaeva, Setora Kholikova, Valeria Galikhanova, Fatima Abdieva, Aisha Parpiyeva, Feruza Latipova, Dmitriy Kostyushkin, Malokhat Rakhmonova, Karomat Gaffarova, Sabina Odinayeva, Odina Ulugbekjanova Photography Feruz Rustamov, Andrey Arakelyan, Ekaterina Briskina, Canoniy, Mukhiddin A Lee, Innessa Anokhina. Visit Uzbekistan magazine

2022, No. 32 Official partner The Ministry of Tourism and Sports Dinara Media Relations PC Dinara&Co. Trademark Tel.: +998 (93) 500 55 65 www.dinara.co | info@dinara.co The magazine is registered by Press and Information Agency of Uzbekistan on 12.05.2017. Registration number No. 0915 | ISSN 2181-9254 Printed by “Jurabek Print” Katta-Su street, Kibray district, Tashkent region, Uzbekistan Order No. 81 All rights reserved. © Dinara&Co. © Dinara Dultaeva

Dinara Dultaeva

@dultaeva

CONTENTS

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ISSUE NO. 32

MEDIA HIGHLIGHTS: Uzbekistan in the Spotlight Global media say Uzbekistan is a tourism hotspot

LANDSCAPES: Spring In Our Step Springtime entertainment and festivities in blooming Uzbekistan

EVENT: Secret Concert & Poetry Night Launch of the 31st issue of Visit Uzbekistan magazine

BOOK

The book 10 Reasons to Visit Uzbekistan is perfect for those who are yet to discover this country, but want a glimpse of an extraordinary and authentic land surrounded by legends. Masterpieces of photography by talented Ernest Kurtveliev reflect the true spirit of Uzbekistan with its ancient and majestic architecture, breathtaking nature, and openhearted people. This book will inspire you to see these unique places with your own eyes, and once you do, we are sure that you will have many more reasons to visit Uzbekistan again.

Preview and order: WWW.UZBEKISTANBOOK.DINARA.CO

For wholesale orders call: +998 93 390-00-98

Bookstore Tashkent: +998 71 252-74-99

CONTENTS

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ISSUE NO. 32

STORIES: Carpets as Works of Art Inside the Samarkand silk carpets factory

44 ART: Contemporary Artists of Uzbekistan We meet six Uzbek artists and discover what inspires them

Photographer: Feruz Rustamov Designer: Lena Ladik Model: Munisa Kamalova Venue: Crafts Centre, Samarkand

COVER

2022 • No. 32

Your Personal Travel Magazine

2021 • No. 29

Your Personal Travel Magazine

INFO

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FREQUENTLY ASKED QUESTIONS ABOUT THE ‘SAFE TRAVEL GUARANTEED’ PROGRAMME

- COMMON QUESTIONS Do I need a COVID-19 PCR test and/or to be vaccinated to travel to Uzbekistan? If the entering person has passports/vaccination certificates for coronavirus infection, all persons without PCR tests are allowed to enter. In the absence of passports/vaccination certificates of entering persons, the person entering must have the results of a negative PCR test (with an electronic QR code), not more than 72 hours, or pass express tests upon arrival in the territory of the Republic of Uzbekistan.

Can I visit entertainment complexes, such as amusement parks, attractions, museums and theatres? All entertainment complexes are open throughout the country. Sanitary conditions in these places comply with national requirements, including temperature control, mandatory masks and gloves for employees.

Do I have to wear a mask? According to the decision of the special commission, from March 1 the requirement to wear masks in public places was abolished in Uzbekistan. It is recommended to wear masks in public transport, shopping centers, markets, mosques, cinemas, and other places.

What do I need to know about travelling on public transport (any new requirements or changes in schedules/tickets)? Passengers must wear masks while on transportation. Trains and flights are operating, although timetables are running on a more limited basis.

What happens if I fall ill while in Uzbekistan? If a visitor feels sick and suspects COVID-19 infection, they should seek medical assistance (through their guide, hotel reception or otherwise) and undergo a PCR test. Treatment may take place either in a hospital or elsewhere depending on conditions. If a foreign tourist contracts COVID-19 during their stay in Uzbekistan, they will be reimbursed up to US$3,000 for treatment under the «Uzbekistan. Safe Travel GUARANTEED» programme. To be eligible, travellers must be on an organised group tour. The official website of the Ministry of Tourism and Sports has detailed information about the COVID-19 programme for visitors: www.uzbekistan.travel or contact the One-Stop Call Center at 1173. More information about flights: www.uzairways.uz More information about trains: www.railways.uz

The information provided here was current at the time of publication and is subject to change.

MEDIA HIGHLIGHT

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Uzbe kistan i n th e Spotlight Over the past year, a number of international media outlets, newspapers and publications featured Uzbekistan as a top destination to visit in 2022. Words: Setora Kholikova

Though each Uzbek region has its own unique subculture, traditions and rituals, a few places always win visitors over easily. Samarkand is well-known around the world for its rich history. In a recent article titled “The controversy behind this Silk Road city’s ancient wonders”, National Geographic covered Samarkand’s historical tourist attractions, noting that the turquoise domes and the astounding Bibi-Khanym Mosque represent the city’s romance and beauty as a grandiose monument to the wealth and long history of the Silk Road. The article also reflected on the restoration efforts that Uzbekistan put into its historical monuments, suggesting that the country’s history could have been lost forever without these efforts, as the monuments were damaged due to several factors and could well have been totally lost. Meanwhile, The Independent put Uzbekistan on its list of must-see countries, calling it a “historically and culturally rich Silk Road stop.” The article noted that Uzbekistan holds a number of annual cultural events showcasing the country’s authentic and historical sides.

British national newspaper The Times published “Where is it hot in May? 11 sunny destinations”, featuring Uzbekistan on a list of the best places in the world to travel in the last month of spring. The article said late spring is the best time to visit because of the warm and dry weather.

EVENT CALENDAR

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EVENT

WHERE

DATE

WHAT TO EXPECT

Navruz

Parks and squares around the country

March 21

Celebration of the vernal equinox marking the beginning of spring

International Lazgi Dance Festival

Khiva region

April 25–30

Weeklong festival celebrating the age-old national Uzbek dance

Boysun Bahori

Surkhandarya region

April 27–28

Festival aimed at preserving the unique cultures and traditions of Boysun city

Stihia Festival

Moynaq, Karakalpakstan

May 6-8

DJ concerts and environmental workshops at the Ship Graveyard on the Aral Sea

May 21–25

Traditional jewellery and embroidery fair, with workshops on the development of these arts

International Festival of Gold Embroidery and Jewelry

Bukhara region

International Lazgi Dance Festival

Navruz

Stihia Festival

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SPRING EVENTS AND ENTERTAINMENT WITH Spring is a great time to enjoy magical fairy tales and holiday performances. Together with iTicket.uz, an innovative ticketing platform, we have put together a fantastic selection of events that will entertain and delight the whole family.

A recent production of the lyazgi dance Alisher Navoi Grand Theatre

Symphonic cinema by Yuriy Kasparian Concert Peoples’ Friendship Palace April 20

Floyd Universe Symphony Tribute Show Peoples’ Friendship Palace April 25

The Master and Margarita Play Turkiston Arts Palace April 27

Team Tutberidze Champions on ice Humo arena April 29

iTicket.uz offers comprehensive entertainment listings, including plays, concerts, musicals, festivals, sporting events and events for children and families.

EVENT

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Международный фестиваль театра и балета

РОДЕН,

ЕЕ ВЕЧНЫЙ ИДОЛ Балет Бориса Эйфмана

Boris Eifman’s Anna Karenina Ballet Alisher Navoi Grand Theatre May 12

"Only Love is Higher" Poetry evening by Anna Egoyan Alisher Navoi Grand Theatre May 21

Boris Eifman's Rodin, Her Etarnal Idol Ballet Alisher Navoi Grand Theatre May 14-15

An Evening of Humour Concert Peoples’ Friendship Palace June 6

Dina Rubina’s Literary Concert Concert Turkiston Arts Palace May 17

Satori by Sergei Polunin Ballet Alisher Navoi Grand Theatre December 18-19

Н А М У З Ы К У М . РА В Е Л Я , К . С Е Н - С А Н С А , Ж . М АС С Н Е

Tickets can be purchased through a specially developed electronic system, through the official website, the company’s mobile application - www.iticket.uz , and it is also possible to purchase tickets through the official ITicket cash desks.

Accessing your tickets Tickets are sent by email as a PDF. If you’ve registered for an iTicket.uz account, your tickets can be accessed or printed anytime on the website and mobile app, so you’ll never forget or lose them and they can’t be stolen. You can access them in your account under “My Orders”.

Instagram: @iticket.uz +998 (71) 207-10-71 +998 (71) 207-20-72 www.iticket.uz

LANDSCAPE

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SPRING

IN OUR STEP Spring in Uzbekistan is most strongly associated with the national holiday: Navruz, a traditional New Year celebration. It is a magical day when families get together and spend time singing, dancing and cooking. Celebrated on the vernal (spring) equinox, Navruz has been observed by cultures in Central Asia and Persia for centuries. Navruz is one of the most multifaceted and food-filled holidays in Uzbekistan. Customs include wearing new clothes, giving gifts, forgiving others’ wrongdoings and welcoming the arrival of spring with joyous family celebrations. Careful preparations are made on the eve of the holiday: homes are cleaned, every makhalla (local community) carries out khashars (improvement works), crops are sown and tasty treats are prepared for the table. Words: Farangiz Salokhodjaeva

NAVRUZ FEASTS For the next year’s harvest to be a success, the table must be abundant and must have seven foodstuffs beginning with the letter ‘s’ (in Farsi, because Navruz is traditionally the Persian new year). They are sipand (wild rue seeds), seeb (apple), siah dane (black caraway seeds), sanjid (wild olives), serkeh (vinegar), seer (garlic) and sabzi (sprouted seeds). It is said that in the distant past when Zoroastrianism was the most common religion in Turkic territories, these products served as gifts to the gods. In return, people received strength and divine patronage. The main delicacy, which is generally only cooked once a year, is sumalak, a sweet germinated-wheat pudding that looks a little bit like chocolate. According to legend, sumalak was first cooked by a poor family who had no crumbs left when spring came. The mother decided to comfort her exhausted, starving children by pretending to cook something. She found some sprouted wheat and flour in the barn and started boiling them in water. The children settled down, and so the mother put a few stones into the cauldron, pretending they were meat. After stirring the cauldron day and night, she eventually fell asleep and awoke to angels hovering in the room and saw her children around the cauldron eating delicious porridge and licking their fingers. The word ‘sumalak’ means ‘thirty angels’.

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LANDSCAPE

Sumalak is a treat that shouldn’t be sold; instead, it is customary to give it away to neighbours, acquaintances and visitors. The cooking process requires a day and a sleepless night because it must be constantly stirred, and those near the cauldron should make a wish. Once the sumalak is nearly ready, the table is decorated and set with traditional treats, and finally, the whole mahalla (community) gathers around to eat. The process of opening the cauldron is another ritual. What you see on the surface of the cooking sumalak can be a form of fortune-telling: a bird or a peacock means the new year will bring prosperity and happiness. And if you also manage to taste sumalak from seven different cauldrons, you will live without misfortune for the whole year. After the feast, people spend time outside to enjoy the spring weather at city fairs, which often include concerts, traditional games and colourful national clothing.

NAVRUZ SPORTS Traditional sports and games are a mainstay of Navruz celebrations, and you’ll see wrestling and equestrian games, in particular, being played at many city fairs.

KURASH The national belt-wrestling competition, kurash, is officially included in the World Network of Non-Olympic Sports and supported by UNESCO. The sport has been around for more than three millennia, and much has been written about it in the legendary epic Alpamysh and in Herodotus’s History. The philosopher Avicenna considered kurash good not only for health but also for building up morale. Under the great Uzbek leader Timur, kurash was introduced as part of the physical training and self-defence program for soldiers. Maintaining its philosophy and traditional approach, over time the ancient game turned into an international sport with solidified rules. Any kind of painful hitting or chokeholds is forbidden; only throws and under-hooks are allowed. To win cleanly, a wrestler must topple an opponent onto their back.

LANDSCAPE

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KUPKARI Another pastime is the ancient equestrian competition ulok kupkari (goat raiding). In this thrilling spectacle, athletes on horseback compete for possession of a goat carcass (the ‘ulok’), which must eventually be thrown into a circular brick structure resembling a cauldron on the opponent’s side. The competition is fought between teams of six or as individual championships with several hundred riders competing at the same time. To play, a group of riders gather around a goat carcass lying on the ground.

The first thing to do is to pick it up, then secure it by pressing the leg against the side of the horse and then, if successful, rush to the opponent’s cauldron and throw the carcass. The weight of the carcass can reach 40–80 kilograms and not everyone can lift it from the ground. Participants usually take their time and wait until someone else picks it up, then try to steal it – much easier. Once a rider has the ulok, others come to their aid, creating chances to break out of the tight circle and rush to the edge of the field to reach the cauldron.

BEYOND NAVRUZ In addition to Navruz in March, many other springtime celebrations are held, including festive fairs and parties, that bring together participants and spectators from all over the world. Each region of Uzbekistan has its own characteristic features – clothing, music, language and customs. The largest festivals, held in Surkhandarya and Bukhara, are the best for experiencing the vivacious energy of the Uzbek people. Local traditions, lifestyles, music, dance and folklore are on display at the open-air Boysun Spring Festival (Boysun bahori) held in April in mountainous Boysun in the Surkhandarya region. It is here where the legendary epic about the Uzbek warrior Alpamysh was composed. First held in 2002, this year the Boysun festival has been changed to a biannual celebration with two themes: Folk Arts and National Folk Games and Performances. In May, head to Bukhara for the Silk and Spice Festival, where a variety of handicrafts, silk fabrics, fine carpets, aromatic spices, patterned ceramics, jewellery and Uzbek cuisine are all on offer. The Bukhara region is renowned for its handicraft workshops and stalls showcasing a whole range of products from various artisan schools.

REVIEW

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Wandering among city art studios Words: Setora Kholikova

Masterskaya art space is among the first to open a creative studio with a national bias in Uzbekistan. They are located in Navruz Park at House Khorezm 12, built in the style of the historic houses of the Khorezm region. More than just an art studio, Masterskaya positions itself as an experiential space, offering a huge selection of activities. The mission here is to celebrate and promote ancestral cultures, leaning towards a national style in art and breathing life into Uzbek national customs, namely crafting, modelling, pottery and ceramic painting, all of which they both teach and make to order. Masterskaya aims to unify creativity and support artists and creative people by providing a coworking service where people can rent a space in the studio to work collaboratively on art projects. Beyond the coworking studio, they provide art classes in painting with gold and acrylics, the technique of resin art where you can create anything from a sea-resin oceanscape to clocks, coasters and more on any canvas. In addition, you can decorate tote bags and clothes, create pop-art illustrations, animation and sculpture, or try neurographic art (a type of mindfulness practice). Other key offerings are children’s masterclasses, team-building sessions, corporate workshops and art-based parties where you can celebrate a birthday

or event in a masterclass along with your guests. The artists based at the workshop also offer bespoke paintings and decor for home or office. They accept orders for wall paintings, canvas paintings and ceramics products

Phone number: +998 97 754 05 15 Address: 31, Shaykhontohur street, Navruz park Instagram: @masterskayauz

JOURNEY

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Begim Perfumes Treasure Collection fragrance exhibition

Handmade kurpachas by Korpe.uz created a special Uzbek atmosphere

On 18 February 2022, we launched Issue 31 of Visit Uzbekistan Magazine with an evening of soulful gatherings and discoveries at Tashkent’s Wellness Hotel & Spa. Themed around the art within us all, this special allowed a chance for all of the guests to grace the evening with their own creative performances.

Words: Sabina Odinayeva Photo: Feruz Rustamov Visit Uzbekistan is not just a magazine about interesting places and unique locations. It is, above all, a magazine about people and for people. We talk about the life of Uzbek people without embellishment, we share stories that give a sense of wonder and we write about the importance of every historical piece of our land. And of course, we show our love for our homeland. For the launch of our last issue, we talked a lot about the Visit Uzbekistan brand and our many projects.

Many of the people that we featured in the 31st issue were invited to showcase the launch. There was an exhibition of paintings by Ronald Klejier, a fashion show by designer Dilnoz Erkinova, a presentation of the ‘Silk Road Treasures’ perfume line by Begim Perfumes, handmade kurpachas (traditional blanket-mattresses) by Korpe.uz and a wine tasting by family winery Uzumfermer.

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Live music and national dances by SAFO band

Each shared amazing stories about the creation of their brands and products, showcasing the beauty of Uzbek culture and traditions. Our Secret Concert & Poetry Night has become a meeting place for talented creatives, business people, members of the diplomatic corps and embassy staff. The event provided a much-needed time out from our busy lives to meet in person, share projects, network and discover something new. All of the attendees brought inspiring work, new ideas and upcoming plans to share.

Uzbek singer Ohista Jamshid improvised a jam session with SAFO band

A fashion show by the talented Dilnoz Erkinova

EVENT

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«We are happy to be part of the creative industry and to facilitate such creative platforms for communication and the exchange of ideas. Here we have made it possible for creative people to meet one-on-one. After all, this is how successful projects are shaped and fresh ideas are born. Visit Uzbekistan is open to cooperation with representatives of the creative sector and always welcomes interesting projects.”

Dinara Dultaeva

Founder and Editor-in-Chief of Visit Uzbekistan The evening was crowned by a series of fantastic poetry readings. Participants were excited to choose their favourite poems and recite them in front of the whole audience. Everyone performed in their own native languages, including Chinese, English, Turkish, Hindu, Uzbek, Ukrainian and Belarusian. It was nice to hear new words and try to grasp their meanings. Live music was provided by the band SAFO, led by master tanbur player Toir Kuziev, creating a friendly atmosphere. The performers shared their newest pieces of music, which spanned traditional and contemporary music. The melodies of national instruments brought the eyes and ears of all the guests together and filled their souls with peace and tranquillity. “This is not the first time we have cooperated with Visit Uzbekistan. We understand the importance of such exchanges because, in today’s world, there are a lot of prospects for creative cooperation. Recently, we launched the Visit Uzbekistan Music project, which has given us an opportunity to showcase our national music around the world. These evenings show the value of each creative person, which is very encouraging.”

Dinara Dultayeva, Editor-in-Chief of Visit Uzbekistan, delivered a welcoming speech

Toir Kuziev

Master Tanbur Player The event was rounded off with raffles of goodies provided by all of the partners. Each participant came away full of warm emotions and new inspiration.

The evening also included an exhibition by the artist Ronald Kleijer. During the event, he gifted one of his works

Wine tasting from our regular partner Uzumfermer

2022 • No. 32

SELF-PROMO

EMPIRES OF SILK A historical novel

A novel that reveals the history of the peoples of Uzbekistan and the region from a new perspective. Published for the first time in Uzbekistan. The author of the book is Akbar Khakimov, a famous art scholar, an academician of the Academy of Sciences and the Academy of Arts. The book tells about the origin of silk art and the importance it had in the fate of the civilizations of the East and West.

Empires of Silk is available for purchase at Book World (Книжный мир) in Tashkent and can also be purchased by calling +998 (93) 390-00-98 or emailing info@dinara.co. Note: At the time of writing, Empires of Silk was only available in Russian.

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Seven Saints of Bukhara Bukhara was the birthplace of seven Sufi saints of the Naqshbandi order, who had an important impact on the prosperity of the city and on the spiritual and religious spheres of society. Many tourists and pilgrims make a journey to the seven sacred places associated with them in and around Uzbekistan’s most spiritual city. Words: Feruza Latipova

Khorgan Khoja Mukhammad Babai Samosi Mukhammad Babai Samosi predicted the birth of the spiritual leader Bahauddin Naqshband. His memorial complex – mosque, mausoleum and garden – is located in the village of Simas.

MAP

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A pilgrimage through Bukhara is best done over the course of a day or two, visiting these seven sights associated with the khojas (saints) of Bukhara. For pilgrims, it is important to visit the sites in the correct sequence chronologically. Ali Ramitani

Mukhammad Arif al-Rivgari

Abdukholik Gijduvoni

Mausoleum of Khajagan Sufi master, Ali Ramitani, in his hometown of Ramitan. He was a healer, helped restore communities that suffered after the Mongol invasion and even converted some Mongols to the Islamic faith.

Mausoleum of 12th-century Naqshbandi master and student of Abdul Khaliq Gijduvoni, in Rivgar (modern-day Shofirkon), 45km north of Bukhara.

The small town of Gijduvan was the birthplace of the 12th-century Sufi saint Abdul Khaliq Gijduvoni and his tomb is located here under a wooden pergola with a blue dome.

Shofirkon

Gijduvan Makhmud Anjir-Fagnavi Anjirborg, near Vobkent, is the burial place of the 12th-century Sufi saint started out as a carpenter and craftsman and went on to become a Murshid (religious teacher).

Romitan

Vobkent

Kogon Bahauddin Naqshband

Sayyid Amir Kulal Bukhari

Giving his name to this Sufi order, Bahauddin Naqshband is considered the ‘Teacher of Sufism’. He was buried in his home village, Qasr-i-Hinduvan (modern-day Qasr-i-Arifan), in 1389, and in the 1540s, a new tomb complex was built. Today it is one of the most important pilgrimage sites for Sufi followers.

The 14th-century saint, Sayyid Amir Kulal Bukhari, was a talented potter and became a spiritual authority and teacher to Bahauddin Naqshband. His memorial complex is located in his home village, Sukhar.

Bukhara region

HERITAGE

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UZBEKISTAN – CROSSROADS OF RELIGIONS

ZOROASTRIANISM Dmitriy Kostyushkin is a Programme Officer and Translator at the UNESCO-supported International Institute for Central Asian Studies and is an Academic Guide for Veres-Vert Travel Company. In this new series, Dmitriy takes an in-depth look at Uzbekistan’s rich religious history and cultural legacy.

While travelling around Uzbekistan, especially in the remoter regions, you’ll likely notice the immense number of ancient traditions. Sometimes, the origins of these have been forgotten or lost over time. Attend a wedding in the mountain village of Urgut near Samarkand and you may find yourself partaking in dances around a bonfire or bravely competing to jump over raging flames. All of this goes along with the mullah’s (an educated Muslim trained in religious law) morning recitation of the nikokh (marriage) prayer, which concludes the marriage according to Muslim canons – the modern requirements of official marriage. Though it may be obvious why many modern Uzbek weddings follow the canons of Islam, there are many remnants of paganism and earlier religions, too. For example, many weddings include torchlight processions chanting the phrase “Yor-er, Yorani” or the aforementioned wedding bonfire. Before Islam was adopted in Uzbekistan, an earlier religion was present, sometimes (wrongly) called ‘fire worship’: Zoroastrianism. Zoroastrianism was the dominant religious system in what is now Uzbekistan from the 6th century BCE to the 8th century. It was particularly prominent in Sogd, Khorezm, Chach, Fergana and Bactria. Zoroastrian beliefs had an enormous influence on the spiritual cultures, customs, rituals, social rites and moral standards across Central Asia.

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The sacred book of the Zoroastrians is the Avesta, a collection of texts compiled during the archaic period in the ancient Iranian language. The main part of the Avesta is traditionally considered to be the Gathas, a set of the prophet Zoraster’s hymns, dedicated to the god, Ahura-Mazda. These songs set forth the basics of doctrine and describe the rewards of the righteous and the defeat of evil. Zoroastrianism originally incorporated many ideas about the spiritual world, nature and the Central Asian peoples. These formed into a dualistic, religious system and fell out of favour after the advent of Islam. However, we can still see remnants of Zoroastrianism in many local traditions, images and rituals.

KHOREZM, THE HOME OF ZOROASTRIANISM In the middle of the 20th century, the famous Russian archaeologist S.P. Tolstov came to the conclusion that ancient Khorezm was the home of Zoroastrianism, and many now experts agree. There are 63 Zoroastrian monuments around the world, including in Iran, India, Afghanistan and Pakistan, and there are 38 in Uzbekistan, 17 of which are in Khorezm. In the lower reaches of the Amu Darya in Karakalpakstan, a unique historical and archaeological complex was discovered. Situated on three hills, Mizdahan contains burial ossuaries and nearby is the oldest, best-preserved Zoroastrian structure, Chilpyk Dakhma – the ‘Tower of Silence’. Constructed more than 2000 years ago, this funerary tower was a place where the deceases were laid to rest, to be consumed by birds of prey and predators. According to legend, Zoroaster – the prophet who founded this religion – wrote the first lines of the Zoroastrian religious text, the Avesta, here. The landscape of Khorezm is still decorated with the powerful walls of fortresses where traces of fire temples have been found: Ayaz Kala, Toprak Kala, Koi Krylgan Kala, Burgun Kala, Dev Kala. Items found at these sites, including household items, ceramics and sculptures, point to Zoroastrianism and images of characters from the Avesta. Fragments of wall paintings and sculptural decorations inside the Toprak Kala depict the customs and traditions of everyday Zoroastrianism. For example, the battle of the fighting rams and the vibrant Khorezmian lazgi dance, which is considered a remnant of an ancient, Zoroastrian fire-worship ritual. Statues of the Zoroastrian fertility goddess Anahita have also been found at the ruins of Afrasiab in Samarkand. And according to legend, one of the oldest mosques in Bukhara, Magoki Attari, was built in the 11th century on the site of a Zoroastrian sanctuary, as was the Hazrat Khizr Mosque in Samarkand.

HERITAGE

BELIEFS AND IMAGERY Zoroastrian ceremonies were strictly regulated. Judging by the images on astodans or ossuaries, alabaster, pottery or stone reliefs, priests dressed in white, tunic-like shirts with long sleeves that were belted with a kushti (ritual belt). When they approached the altar with the burning fire or performed ritual actions near it, they covered their mouth and nose with a padam (special bandage of white cloth) so as not to defile the sacred fire with their breath. Pictured is an ossuary from the 7th-8th centuries from Mullakurgan near Samarkand with clearly Zoroastrian attributes. Its composition has a three-part structure. The lower tier has an arcade with a stationary fire altar from which plants rise, symbolising rebirth. Two priests kneel on each side of the altar, performing the religious ceremony of ‘feeding the fire’. The middle tier contains cogs, which show the top of the building and mark the boundary between Earth and the heavens. These are all crowned by the astral symbol – a crescent moon joined and a sun disk with a rosette (a peculiar symbol of Zoroastrianism). The figures illustrate the eve of the Last Judgment, or rather the ‘rist-akhesishih’ – the resurrection of the dead.

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Modern Zoroastrians usually structure doctrine according to nine points: 1. 2.

3. 4. 5.

6. 7. 8.

their

Belief in Ahura-Mazda, the ‘Wise God’, as the good creator Belief in Zoroaster (Zarathushtra) as Ahura-Mazda’s only prophet, who showed humanity the way to righteousness and purity Belief in the existence of a spiritual world (minu) and in two spirits (Holy and Evil) Belief in Ashu (Arta), the original universal law of righteousness and harmony Belief in the human essence, based on which daena (faith, conscience) and tempura (mind) allow each person to distinguish good from evil Belief in seven Ameshaspents, the seven stages of development and disclosure of human personality Belief in Dadohaesh and Ashudad, the concepts of mutual assistance/support and offering help to those in need Belief in sanctity of natural elements and living nature as creations of Ahura-Mazda (fire, water, wind, earth, plants and cattle) and the necessity to take care of them Belief in Frasho-kereti (Frashkard) - the eschatological, miraculous transformation of existence, or the final victory of Ahura-Mazda and expulsion of evil, which will happen because of the joint efforts of all righteous people.

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ZOROASTRIAN TRADITIONS IN MODERN UZBEKISTAN Zoroastrian traditions are still found across Uzbekistan’s many colourful traditions and holidays. The traditional Persian New Year, Navruz, has become an international holiday of the arrival of spring and is celebrated across Uzbekistan. An ancient festival of the vernal equinox, Navruz existed before the formation of Zoroastrianism, but was and still is prohibited in many Islamic countries and was not particularly welcomed under the Soviet regime. One Navruz tradition is the cooking of sumalak – a sweet and nutritious porridge of sprouted wheat grains. These are symbolic of the holiday and hearken to an earlier agricultural culture, conveying the Zoroastrian idea of the eternal rebirth of nature.

HERITAGE

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Peak Uzbekistan:

Words: Karomat Gaffarova Photo: Mukhiddin A Lee

The Duppi Hat

A unique aspect of Uzbek cultural heritage, the duppi hat can reveal special details about the wearer’s culture and home. The duppi speaks in the most mysterious and beautiful way, with its intricate patterns and delicate forms. The duppi/doppa is one of the most iconic pieces of traditional Uzbek clothing. As the national headwear, the duppi carries historical and cultural significance and is considered a form of Uzbek applied art. The patterns on duppis offer significant details and special signs about the wearer’s origin and culture. Of course, the duppi also serves a practical purpose: protection from strong sunlight during Uzbekistan’s sizzling summers. The word duppi was derived from the Turkic root tyubey, meaning ‘peak’. The hat’s skullcap-style form recalls the vast sky, the dome of a mosque, or even the rounded roofs of ancient bazaars, which you can still see in cities like Bukhara today. The history of the doppa hat goes back thousands of years. Terracotta statuettes representing Turkic warrior-riders found at Afrosiyob (the ancient city of Samarkand, 6th-7th centuries) have headdresses in the form of round caps with geometric

ornaments of half-rings with convex circles inside. There is also a female statuette from Afrosiyob wearing a round cap that has pendants falling on her forehead. In Samarkand, the Turkic word ‘kapok’ (cap) still refers to a skullcap. Many different styles of duppi are worn across Central Asia. They can be cone-shaped and hemispherical, square or flat. Their forms, pattern peculiarities, embroidery colours and purposes differ according to the ethnic and territorial areas where the caps are worn. Traditional tyubeteikas consist of four parts, each representing four periods of human life: childhood, adolescence, youth and old age. According to tradition, anyone can wear a duppi, no matter their age or gender. The process to craft a duppi is extensive. Experienced craftsmen use a variety of duppi sewing styles, including bosma (or ‘suzan’), kandahar, khomduzi, yurma, hiroki and piltaduzi.

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The ornamentation and design features are often symbols that serve as talismans against evil spirits or the evil eye, while others bring wealth, luck and prosperity. The colour of the hat also has a special meaning: green symbolises immortality; red means courage, blue indicates good luck. Colours also change depending on the gender of the wearer; for men, they tend to come in two or three shades, while women’s duppis are characterised by a bright, multi-colour palette.

The most famous Uzbek duppi is with Chust ornament Duppi styles vary widely across the different regions of Uzbekistan. • • •

• Samarkand men wear tall duppis

Bukhara – A braided embroidery pattern using golden and silver threads to denote the high status of the owner. Andizhan – Women’s duppis are embroidered in a dense, white cross stitch, often depicting fruits and symbols. Tashkent – Women’s duppis are patterned with brightly feathered birds that protect against the evil eye. They are made of maroon, dark green or dark blue material and embroidered with lighter-colour threads. Chust, Fergana Valley – The most famous duppi is the Chust skullcap, worn by men from the town of Chust in the Fergana Valley. Local artisans have been practising this craft for centuries and passing it down from generation to generation. The Chust skullcap is simple and modest and at the same time decorative. It is most often square and differentiated by delicate embroidery of white silk on a black background. The top is embroidered with four flowers which, according to legend, guard the wearer’s health. Other ornaments include kalampur (peppers) – a symbol of life, family happiness and protection from the evil eye.

Margilan young girls wear duppis with a floral pattern

Women's duppis in Khorezm are decorated with jingling coins and feathers The best and most extensive collections of duppis can be found in the State Art Museum of Uzbekistan and the State Museum of Culture History of Uzbekistan in Samarkand. Duppis make a beautiful and unusual souvenir, whether to decorate your homes or start your own duppa collection. You can buy the duppis in any Uzbek bazaar, as well as in special souvenir stores around the country.

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Words: Shodiya Khamidullaeva

The British Embassy in Uzbekistan in co-operation with the Toshkent Gullari School and SABR (Republican Center for Socio-Economic Development) initiated a project to support women entrepreneurs. On 25 February 2022, an award ceremony was held to celebrate the completion of the course. During the event, the participants shared their life stories and the impact of the training on their work. In the past, I used to go to the flower shop to help my family during the holidays, but I had never learned flower arranging,” says project participant Shakhnoza Rakhimova. “After learning the techniques in this course, I have been inspired to develop in my profession and in this industry, too. I am very grateful to the organisers – especially Toshkent Gullari – for all the knowledge I received.

In recent years, Uzbekistan has been striving to ensure equal gender rights in social, political and economic spheres. Projects aimed at educating and training women entrepreneurs are helping to achieve this. After all, a country where women have the opportunity to pursue their own businesses will only prosper.

The training course was designed specifically for women from disadvantaged families across Uzbekistan. The programme offered the free floristry course to 12 women to learn a new skill for an in-demand profession – the floral industry is one of the most rapidly growing industries in Uzbekistan. Floral arranging requires particular skills and abilities. One of Toshkent Gullari’s top florists helped lead the course, sharing her experience and valuable advice. Through completing the course, participants gained the knowledge and skills needed to start a small floral business and become financially stable and independent. Several participants remarked that the programme gave them confidence and inspired them to start their own businesses.

Considering gender when developing policy is beneficial for everyone,” says Tim Torlot, British Ambassador to Uzbekistan. “As we have seen by multiple studies all over the world, women make companies and countries more profitable. Hiring, promoting and retaining more women is not only fair but also a smart strategy for businesses, communities and economies to thrive.

CAPITAL

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Visit Uzbekistan’s Managing Editor, Megan Eaves, sat down with freelance writer, translator and former drinks analyst, Jonathan Campion, to discuss trends in the Central Asian drinks market, the potential for Uzbekistan’s wine industry and the wonderful hospitality of the Uzbek people.

Jonathan Campion Former Central Asia drinks analyst. Freelance writer, translator and editor for the Russian speaking world

Visit Uzbekistan: You were a market analyst at the wine and spirits research agency IWSR from 2015-2018. What did that job entail? Jonathan Campion: The IWSR is like an intelligence agency for the alcohol industry. It puts together reports on alcoholic drinks in about 160-plus countries worldwide, showing how much of each category of drink – whisky, vodka, gin, etc. – was consumed in the country the previous year. And within those categories, which brands are most popular. My job was to cover the Eurasia region, mainly the former Soviet republics. I would travel every year to places like Russia, Ukraine, Uzbekistan, Kazakhstan and the Caucasus, as well as Turkey, Bulgaria and Greece, to meet with alcohol companies and discuss sales and trends. I investigated why one drink might rise in popularity, and put together reports on consumer trends. So, what makes people drink more or less of something, and what’s changing. VU: How do you draw connections between trends and what causes them. For example, if people are drinking more wine this year or less?

JC: By speaking to people in those countries, and also understanding global trends. For example, health and wellness has been a worldwide trend for some time. In almost every country, people are drinking less hard spirits and moving to wine. So wine is a trend in every country. What’s interesting is that, because people are so different in every part of the world, they have completely different behaviours, cultural cues and economies. I loved hearing about the human side to it – if a number goes up, what does that mean about people and the world? For example, in Uzbekistan one year, there was a really hot summer, so beer sales went up. But then the next year, the hottest month was during Ramadan and beer sales went down. So the human side is very interesting. VU: How did you come to specialise in Central Asia? JC: I studied Russian at Exeter University and lived abroad in Russia as part of my studies, so I had the language. And I also lived in Kyiv after I graduated, so I had experience in the region. I was recommended by the person who had the job before me, after she had a baby. But I’d never been to Central Asia before and had

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become obsessed by it. I had an absolute passion and was desperate to someday, somehow find my way to Central Asia. I thought it might never happen, and then this job came up and the chance came to go. I feel very fortunate to have been able to finally visit Central Asia. VU: What were some of the general trends you noticed about the Uzbek drinks industry during your work? JC: Uzbeks are drinking less and less vodka and other spirits, and drinking more wine. There are a few reasons behind this. First, younger Uzbeks don’t necessarily want to drink what their parents drank. So for this generation of millennial Uzbeks, vodka is seen as maybe what your dad or granddad drinks. There’s no prestige to it; it’s not good for social media. You can’t be seen on Instagram drinking vodka. Also, people are becoming more conscious of health and choosing lower-alcohol or softer drinks. As well, Uzbekistan is putting effort into its wine industry, and linking the wine industry with tourism. When I was there, companies told me that middle-longer term, they wanted to incorporate vineyards into the tourist trail and encourage visitors to drink Uzbek wine. VU: What makes Uzbekistan’s wine industry special? JC: I’m not a winemaker, but Uzbekistan has an amazing climate – great seasons and great terroir for growing grapes. I think wine is a really good use of the grapes. In Turkey, which is similar in that it’s a Muslim country with a drinking culture, the government has realised that vineyards and winemaking are quite a profitable way of using grapes. What’s more, Uzbekistan has a rich culture of handmaking traditions, such as arts and crafts and architecture. The Uzbeks have creativity and craftsmanship in their blood. I think they would be ideal winemakers – to use that attention to detail, patience and creativity to make really unique wines. VU: Any memorable meals or favourite things to eat in Uzbekistan? JC: One of my favourite memories was when I was meeting with a drinks importer – one of Uzbekistan’s biggest foreign-brand importers. We were chatting and, casually, the boss asked me if I had any plans for the weekend. So I said, “While I’m in Tashkent, I’d love to go to Chorsu Bazaar. I’ve heard loads about it.” The next morning, he was outside my hotel with his car

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INTERVIEW

to take me there himself. We got there and I thought he would just say goodbye and leave me to it, but he went in with me and – this is true and I can’t put my head around it to this day – he gave me a huge handful of Uzbek banknotes, tens of thousands of sum, and said, “Right. Just buy whatever you fancy.” He took me around the market and I stocked up on honey, nuts and fruits, grapes. Then he took me to a local chaikhana for lunch. It was the most incredible place – this lunchtime crowd thronging with couples and families and groups of people in this kind of smoky atmosphere, having their shashlik. We had lunch there on benches and I chatted with the people next to me, and then we went somewhere else and tried the bread. That day I managed to fit in so many experiences. It speaks a lot about Uzbek hospitality. VU: How do you think the Uzbek wine industry should look to develop in the future? JC: The trend in Uzbekistan is already towards less vodka and more wine every year, and wine is generally quite trendy around the world now. Uzbek wine has such potential because of the fantastic grapes and the idea that Uzbeks could channel their tradition for handcrafting into becoming amazing winemakers.

« Uzbek wine has such potential because of the fantastic grapes and the idea that Uzbeks could channel their tradition for handcrafting into becoming amazing winemakers.»

Most of the wine currently drunk in Uzbekistan is imported from Western Europe, but unfortunately Uzbekistan tends to get the cheapest, lowest quality wines that can’t be sold on the European or American markets. I suppose there is a post-Soviet mentality in Central Asia that, if something is imported from France or Italy, it must be good. I hope that, in a few years, millennial Uzbeks will be sitting in trendy Tashkent wine bars drinking beautifully crafted Uzbek wine made with their local grapes. VU: Have you seen this kind of development happen in other places? JC: I have, for example in Armenia, which has put a lot of effort into developing its vineyards. Wine is very trendy there, and drinking local Armenian wine has become a status symbol. It’s a form of patriotism and a sign of pride. Younger people go to a wine bar and will only drink Armenian wine because it’s coming from their soil, their land, made by their people. It’s something they can be proud of. I really hope that Uzbekistan takes that route, so that, in a few years, Uzbek wine is not only for tourists that take a vineyard tour, but local people will also be encouraged to drink Uzbek wine.

JOURNEY

It’s been called Uzbekistan’s Switzerland. Set in the mountains of the Jizzakh region at 2000m, Zaamin is an area of stunning scenery, unforgettable food, pure mountain air and ancient sites. And it’s all just four hours’ drive from Tashkent. Here are the top five reasons why everyone should visit Zaamin at least once. Words: Aisha Parpieva

Breathtaking nature For those looking to escape the hectic city for a while, a trip to Zaamin offers peace and quiet, and it is surprisingly easy to disconnect here. The mountains – adorned with myriad medicinal herbs and coniferous trees – have both the purest air and also the most peaceful and gorgeous landscapes in the region. In Zaamin, you cannot help but feel the sublimity of nature and surrounding beauty. More than 800 species of plants grow in the mountains here. Fauna, too, are abundant, including rare birds such as wood dove, bunting, turtledove, juniper grosbeak and black stork; and animals, including the Turkestan lynx, the Central Asian ibex and the white-clawed bear. The versatile flora and fauna of Zaamin are its major drawcards.

Ancient pilgrimage sites The Zaamin region is dotted of meditation caves and shrines, enveloped in legends and full of fables. The Parpi Oyim shrine in Uvol village is connected to Parpi, a holy woman in the ancient Turkic image of the Umayyad mother, who guards young women and children from evil spirits and brings virtue. People who are having trouble conceiving children visit this shrine, taking away some stones and returning them after a child is born. Other sacred sites include the Peshagor Cave in the western part of the Turkestan Ridge, the Gorbobo Shrine in the village of Kultepa, and the Khoja Kondalang shrine in the village of Kuchchibolgali. These have become places of pilgrimage for the wounded, childless and those suffering from various ailments.

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Deep history Zaamin is famous for its ancient monuments, deep caves, gorges with dinosaur footprints and numerous other historical landmarks. The Zaamin Ethnographic Museum is a good place to get a feel for traditional life in the area during the 17th–18th centuries. Collections include ceramic products, coins, jewellery, household utensils and traditional clothing. The 15th century, restored Cathedral Mosque Marifatli is another historical highlight of Zaamin. One of the 10 largest mosques in Uzbekistan, it can accommodate up to 6000 people. A 1000-year-old mulberry tree stands on the perimeter.

Recreation Zaamin is home to a national park and sanatorium perfect for recreational activities. The Zaamin Mountains have been put forward as a candidate for the Unesco World Heritage List of natural sites, and the area is ideal for ecotourism. Located at an altitude of 2000m, the sanatorium is a place where visitors can breathe pure, mountain air and enjoy spectacular views of peaks and valleys. The nature reserve is especially beautiful in spring and autumn when the scent of fresh herbs fills the air and the flowers and trees are adorned in the brightest of seasonal colours. The weather is also at its mildest and freshest during these months.

Exquisite cuisine Chicken-filled samsa pastries, fried sheep-tail fat, kebabs: meat is the hallmark of Zaamin’s gastronomy. The kebab – meat roasted over a flame – has been enjoyed by nomads for centuries. Traditionally, meat is seasoned with juniper and cooked in a tandoor oven. The piquant and exotic flavour transports you to the mountains wherever you eat it. Almost every region of Uzbekistan has its own type of samsa. In Jizzakh, samsa are much bigger than other samsa types, but the cooking method is the same. Fried sheep-tail fat (kurdyuk) is popular all over Uzbekistan, but this dish is most traditionally associated with the Jizzakh region and it always tastes best in the rustic mountain surroundings where the sheep are raised. Adventure, relaxation, spiritual enrichment, spa treatments and culinary delights – it’s all waiting in magical Zaamin. Book a trip and make your own list of reasons to come here back again and again.

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Music Unites. Music Inspires.

Music Means Life.

“I believe that music is also a science to some extent. It has to evolve like all other sectors in the country. I can say that I have been able to fully master playing the tanbur, not only in a classical and national style but in a modern one as well. By experimenting, I have discovered new facets of tanbur playing. And I consider that one of my main achievements.” – Toir Askar.

Words: Sabina Odinayeva Photo: Innessa Anokhina Toir Kuziev (known as Toir Askar) is one of Uzbekistan’s most beloved musicians. A true virtuoso, composer and performer, he founded the musical ensemble SAFO SAFO.. Toir plays the tanbur, an Uzbek stringed instrument similar to a lute with a pearshaped body and a long neck, which is played by plucking. He has been popularising this traditional instrument for more than 30 years. SAFO’s performances, led by Toir, are set apart from modern pop music. Their sound combines elements of rock, ballads, jazz and traditional Uzbek music into a special ethno-fusion style. Their particular combination of traditional Uzbek musical instruments, such as the tambur, with modern instruments, is what gives SAFO such a unique sound.

“Good music will be close to your heart regardless of time, beliefs or other factors. I have travelled almost halfway around the world with my instrument. I have been to America, Europe and Asia. People listened to me with admiration when I played, and I was happy to convey the soul of my country, my homeland – Uzbekistan – through my music,” Toir says. Together with English musician Peter Gabriel (of Genesis fame), Toir toured Europe and America in 2003 playing more than forty concert dates. He has made Uzbekistan’s traditional instrumental music famous the world over, having played in more than 20 countries, including the US, Canada, Germany, France, Italy, Singapore, India and Japan. One trend arising out of the halt in global travel due to COVID-19 has been music videos filmed in authentic locations around the world. For example, British band Coldplay recorded a live concert at sunset at Amman Citadel in the capital of Jordan, Andrea Bocelli shot a video playing in front of a deserted Duomo in Milan, while composer Ludovico Einaudi played on a glacier in the Arctic Ocean. And Toir Askar and his band SAFO followed suit in Uzbekistan.

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From January 14 to 16 2022, Toir and SAFO shot a series of live performances in Bukhara as part of a large-scale video project called ‘Visit Uzbekistan Music’. The project aims to promote traditional and contemporary culture and develop Uzbekistan’s tourism potential. Dinara&Co media company produced the four-video shoot with the support of the Bukhara Region Khokimiyat. Seasoned filmmaker Istedod Usmonov directed the videos and chose several of Bukhara’s cultural heritage monuments for the locations, including the Sitorai Mokhi Khosa (Emir’s Summer Palace), the old city and the Kagan Palace. “We should be able to preserve our traditions and pass on the history of Uzbek music to future generations. Together with the band SAFO, we have created many thoughtful and deep compositions that carry a huge history. These compositions have been able to occupy a place in the heart of the people,” Toir said. The videos will be available on YouTube, Spotify and Apple Music, and will be shown at international exhibitions and events at Uzbek embassies and diplomatic missions abroad.

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LIKE THE STARS AND MOON On a hot summer day, you can get lost in the old legends and refreshing gardens of Bukhara Emir ’s summer palace. Words: Valeria Galikhanova

The temperature at the Sitorai Mokhi Khosa Palace (Summer Palace of the Bukharan Emirs) stays pleasantly cool even on the hottest days and local guides are always keen to tell the fantastic tale of how it was built. Before the start of the grandiose construction, the emir, Nasrullah Khan (reigned 1826–1860), ordered that freshly slain sheep’s carcasses be hung on Bukhara’s city gates. The spot where the meat lasted in the sun the longest without decaying would be chosen as the site of the palace. The khan dedicated the palace to his wife, Sitora, who died during childbirth, and poetically named it ‘Sitorai Mokhi Khosa’, meaning ‘a palace like the stars and the moon’. It was designed as a place to receive special guests from foreign countries, and it is said that in the kitchen alone about 20 of the best Bukharan chefs were employed to cook lavish treats for distinguished visitors. Sadly, the lavish first palace did not survive, and so the last ruler of Bukhara (Nasrullah’s grandson), Emir Said Alimkhan, decided to build a new palace in its place, completed in 1918.

He invited the best Uzbek craftsmen and Russian engineers to design and build the palace, and they used almost every type of local decorative and applied art in the layout of the building, gardens and gazebos. The emir was impressed by westernstyle interiors and ordered that his palace be decorated in a bombastic mix of European styles. Mirrors, baguette-framed pictures, furniture, Dutch tiled stoves and crystal chandeliers were brought from Russia. In the palace’s White Hall, the emir sat on a high throne and a huge red carpet was changed to white on special occasions. The walls and ceiling in this room are exquisitely ornate. The architect, Shirin Muradov, used ganch (carved plaster) on a mirror plane here to astonishing effect, while the reception room features traditional painted ganch. Incredibly, no ornamentation is repeated anywhere, which certainly must have kept the interest of those waiting here for hours for an audience with the emir. They would not have been bored looking at such detailed patterns.

2022 • No. 32 The palace is filled with Venetian mirrors, including a mirror trellis presented to the emir in which an infinite number of reflections can be seen. There is a legend that all of the ruler’s new concubines were given a look in the trellis mirror, and the number of her reflections she saw would be the number of rivals that would stand in her way to winning the emir’s heart. Another beautiful detail is the set of multicoloured windows in the teahouse and summer room. The walls were designed to be moveable, changing the size of the rooms depending on the time of the year. Today, only one version of the walls has survived and is on display. Also in the summer room is a gorgeous collection of expensive flowerpots from Japan and China. It is said that Emir Alimkhan would only take food from a Chinese bowl that had been presented to him because it was supposed to change colour if poison was present. In the depths of the court garden, a small guesthouse was erected in honour of Princess Olga, the sister of Russian Emperor Nicholas II (though she never visited). Its rich exterior decoration is laid with about four kilos of gold leaf. In its final form, the palace covers an area of 6.7 hectares on which vineyards, orchards, a large greenhouse and a fountain were also erected. An outer courtyard and inner courtyard divided the palace in half, with one side for male occupants and the other for women. The entire territory of the residence was surrounded by a high mudbrick wall, which gave it the appearance of a fortress. Today, the palace is popular with visitors and is a Unesco World Heritage Site. Visitors can marvel at the ornate furnishings and exquisite decor, and on display are porcelain from China and Japan, traditional embroidery, clothing and jewellery from the collection of the emirs. The spring season is the best time to visit when you can see the lavish palace awash with spring flowers and budding trees, and unhurried peacocks strut about the complex just as they did a century ago.

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ART

CONTEMPORARY ARTISTS OF UZBEKISTAN Uzbekistan has a large number of talented artists, some of whom are little known outside of the country. But their work has created a new chapter in Uzbek contemporary art and contributed to the formation of new artistic techniques and styles. Here, we take a look at the works of five talented artists of Uzbekistan: Babur Mukhamedov, Dilorom Mamedova, Javlon Umarbekov, Shakhnoz Abdullaeva and Maksim Vardanyan. By Sabina Odinayeva

Dilorom Mamedova Dilorom Mamedova is a special member of the creative association of artists of the Academy of Arts of Uzbekistan. Her paintings immerse the viewer in the ordinary days of the country’s inhabitants and convey a warm sense of Uzbek reality.

in the everyday: shadows playing against a street corner, a pile of Uzbek bread, autumn landscapes or a steaming kazan of plov. Her works have been exhibited internationally in Miami, Dubai, Bangkok and several cities in China.

Mamedova’s painting creates a wonderful world where there is neither sadness nor gloom. Her paintings make life look like a holiday through tremendous light, air and bright colours. Dedicated to the nature of Uzbekistan, most of her favourite subjects are the beauty of her native land, its culture and traditions. She finds inspiration

Her works are kept in the collections of the State Art Museum of Uzbekistan, the Nikor Museum in Moscow, as well as in private collections in Germany, the US, Switzerland, England, Japan, Russia, Turkey, India, Australia and Israel. @dilorom_mamedova

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Jamol Usmanov Jamol Usmanov masterfully creates installations, video art and paintings. His work is abstract and avant-garde yet carries profound philosophical insights pointing to the ethnic traditions and values of the Uzbek nation. In his recent works, Usmanov has drawn to attention the contemporary issues of humanity.

ART

His particular way of viewing the world and alternative treatment of everyday situations creates compelling reflections. His works have been shown internationally, including at the Davidson Gallery in Seattle, Zaman Gallery in London, National Museum of Morocco, New Art of Uzbekistan exhibition in Bonn, and Transformation International Exhibition at the Contemporary Art Center in Geneva. In 1999, Usmanov was awarded the title ‘‘Tashkent Painter of the Year’’. Today his works are kept and exhibited in museums in Uzbekistan, the US, England, Germany, the Netherlands, France and Switzerland, as well as in private collections. jamolusmanov.blogspot.com

Bobur Ismoilov The artist’s imagery is rooted in symbolism and his paintings are distinguished by their use of allusions and paradoxical combinations of forms. The viewer may get the impression that there is no meaning in the vanity of objects; instead, their meaning is so deep, complex and synthesised that it escapes simple logical analysis. Since 1993, Ismoilov has been a regular participant in international and national exhibitions, including in Tashkent, at Alexander Cadan Gallery, Central House of Arts in Moscow, at La Comedy Theatre, at the Raspail Studio and at the BourseDelaCommerce exhibition hall in Paris, among many others.

Ismoilov’s works are housed at the State Museum of Art of Uzbekistan, the Fine Arts Gallery of Uzbekistan, the Van Gogh Museum (France), the International ART Ltd Gallery (US) and elsewhere. @bobur_ism

“I don’t paint from nature», says Bobur

Ismoilov. «I don’t copy reality. Creating a painting for me is a deeper process than the materialisation of thoughts.”

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Babur Mukhamedov One of Uzbekistan’s most talented contemporary artists, Babur Mukhamedov has held exhibitions around the world, including Moscow, Tokyo, Los Angeles, Miami, Paris and, of course, Tashkent. His work has been listed among the 100 best works of art in the National Bank Gallery’s collection. Babur Mukhamedov’s abstract paintings capture fleeting movements and moments that happen at the artist’s subconscious level.

The works have a sense of colour, rhythm, texture, technique and brushstrokes. Most of Mukhamedov’s works are in private collections and galleries in the US, Canada, Russia, Great Britain, Germany, Greece, Italy, Japan, Switzerland, Austria, Argentina, Yugoslavia, Saudi Arabia, Ecuador, Turkey, Mexico, India, Egypt, Latvia, Finland, Denmark, China, Israel, New Zealand and other countries. @attracting

Shakhnoz Abdullaeva Shakhnoz Abdullaeva is considered a follower and apprentice e of the famous artist Chingiz Akhmarov. A feminist artist, through her work, Abdullaeva tries to define meaning for women in different realities, building a special balance between her reflections and cultural memory. Across her work, female images are placed in repetitive positions of gestures, figures, regal plasticity and astonishing completeness.Shakhnoz Abdullaeva’s work has been exhibited around the world, including in Sofia, London, Bonn, St Petersburg, Cairo, Beijing, Zurich and Doha.

She has also been awarded the Shukhrat state medal. Her works can be found in the collections of the State Art Museum of Uzbekistan, the Urgench Art Gallery, the Senate of Uzbekistan, the National Bank Gallery of Uzbekistan, the World Bank collection (Washington D.C.), the Zaman Gallery (Lebanon), the Embassy of Japan and in private collections in Morocco, Lebanon, Finland, Saudi Arabia, Russia, the UK and India. @shakhnazart

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FASHION

Uzbekistan in the world of modelling Words: Setora Kholikova Model Nigina Fakhriddinova has represented Uzbekistan at the Miss International and Miss ntercontinental competitions and on fashion-week runways, bringing Uzbek beauty to the world. Though she never expected to one day be on the catwalk, the 22-year-old has made huge strides in her modelling career. Her break came in 2017 when she found herself at a casting call for an Uzbek modelling agency. Now listed among the top eight most successful models in Uzbekistan, Nigina won an online casting with MB Models Agency and has since won the Top Model Friendship 2018 and Fashion Model SNG 2018, and set a record by being crowned the first Miss Intercontinental Uzbekistan 2019 and Miss International Uzbekistan 2020/2021, two of the most prestigious beauty pageants in the world.

Nigina can be credited as the face of Uzbekistan in the modelling world and can be credited for much of the country’s success to date. She is known to be the first model from Uzbekistan who has a wikipedia page. She says her dream is to be the first to represent Uzbekistan in all of the major global beauty contests and to make lasting, positive change in the world. Nowadays, Nigina is best known for founding the Tashkentbased Panterra Models, asuccessful modelling agency and school that uses Russian teaching methods. Panterra’s have taken part in the Tashkent International Film Festival, the seventh Tajikistan Fashion Week (for which Nigina was the brand face) and Grand Fashion Week, with plans for more.Panterra Models accepts a wide range of modelling talent from ages 5 to 30. Those who study with the agency have a wide variety of interests – not all want to pursue a full-time career in the modelling industry – many enrol simply to learn and become the best version of themselves. But the students who are serious about developing their modelling careers can work toward a full contract and begin promotional work when their studies are complete. Web: niginafaxriddinova.com Instagram: @niginafaxriddinova Model agency Instagram: @panterramodels

CRAFT

VIST UZBEKISTAN

Some things can convey a person’s inner world. For artists, these are paintings, for designers they are fabrics and clothes, and for Abdulahad Badghisi of Samarkand silk carpets factory, they are carpets. Sabina Odinayeva sat down for a heart-to-heart chat with the master carpetmaker. Photos: Feruz Rustamov The history of carpet weaving in the Badghisi family goes back 200 years, to the city of Mari in Turkmenistan. It is a skill spanning six generations, and one that the family carries on today. “My father, Mohammad Ewaz Badghisi, was a native of Turkmenistan and loved travelling,” he tells me. “First, he stayed in Samarkand, then in Kabul in Afghanistan, where he continued the family business. He also was in Philadelphia for three or four years with my sister and my mother by invitation of the University of Pennsylvania. He taught students there the art of carpet weaving. Afterwards, they returned to Kabul. In 1992, after Uzbekistan gained its independence, it began attracting investors to the country, including my father. He decided to invest in carpet weaving in Samarkand.”

Today, more than 450 employees work at Samarkand silk carpets factory. Most are hired at the age of 18 after they finish school. They first undertake special training through work exchange, at the end of which they receive a certificate – a system not unlike an apprenticeship. Patience is an important characteristic for a weaver, and those who do not meet the requirement are offered other roles at the factory, such as dyeing, rinsing and so on. Badghisi says his family is not just making carpets, they are reviving a lost art.

“What distinguishes our carpets is the fact that they are created exclusively from natural materials. The threads are made from mulberry silkworms and coloured with vegetable dyes. We use madder root, yellow asparagus flower, walnut peel, saffron, fruit skins and other plants. Colour plays the most important role in the creation of a silk carpet. After that, there is the design, size, and so on,” he explains. Badghisi says another important part of creating carpets is employee satisfaction – their mood is crafted into the final product. A happy worker makes fewer mistakes and you can see happiness in the pattern work on a carpet. Essentially, the happier the weaver, the more beautiful the carpets.

2022 • No. 32

CRAFT

“We don’t make bad carpets. But sometimes someone will point out a spot where the pattern has been done incorrectly. We always emphasise that these are handmade carpets, and small inconsistencies like that make each one unique. Just like nobody is perfect, sometimes a weaver makes a small mistake and that becomes a beautiful element.” Samarkand silk carpets factory’s products are available at two locations in Samarkand: a showroom in the Registan and at the Samarkand Bukhara Silk Carpet Workshop. In 2019, the factory also welcomed more than 1000 visitors a day for workshops onsite (by appointment).

“We give each master the right to choose how to make their carpets. Almost anyone can make a simple design, but if the pattern is more difficult, then the weaver’s skills have to match. Depending on the complexity of a carpet, their payment structure changes as well. We don’t pay them by the days they work or by the hours, we pay them by the numbers of knots in every square centimetre.” The time it takes to create a carpet depends on the size and the number of knots persquare centimetre. A two-square-metre carpet with simple patterns takes 5–6 months to complete, ut if there are more knots per square centimetre, it can take a year and a half or even longer.

“We are very happy to have visitors. It is very important for us that every guest can xperience our products and get to know our culture. We want people to be able to see what we can do and what kind of carpets we can create. Here we create an atmosphere of cosiness and warmth, telling jokes and sharing interesting Uzbek stories. This atmosphere makes them happy.” And speaking from personal experience, I can say that Abdulahad Badghisi himself is a kind-hearted man who delights everyone he meets with his charming smile. For orders or more information about carpets, see the website and contact information below. Samarkand silk carpets factory is always open to new visitors and friends! Instagram: @samarkand_bukhara_silk_carpets Email: badhisia@gmail.com Phone: +998 90 100 07 77 Web :www.silkcarpets.uz

ART

VIST UZBEKISTAN

ART LOVER’S GUIDE

Text by Odina Ulugbekjanova

The visual arts are among the most pleasurable and authentic ways to get to know another culture. The peoples of Central Asia have always been known for their architectural skills and artistic talents, which are most sublimely manifested in the design and decoration of the region’s magnificent palaces, mausoleums and other religious and historical buildings. Visiting Uzbekistan’s fine monuments and galleries, you’ll quickly spot the main motifs that appear across Uzbek art and architecture: ornament, pattern (particularly geometric designs) and calligraphy. Islamic traditions prohibit the image of people and animals, so the masters honed their skills in abstract arts, bringing them almost to perfection. Later, a new type of Uzbek fine art appeared – the miniature: a type of teeny but brightly coloured, varnished painting that decorated the interiors of wealthy homes. Here we outline a few must-visit places for art lovers, from palaces to photo studios.

SITORAI MOKHI KHOSA PALACE Built by the Emir of Bukhara in the mid-19th century, the Sitorai Mokhi Khosa is one of the grandest buildings in all of Uzbekistan. A feast of latticework, ornamentation, stained glass and lavish interior decor, the palace is an incredible place to explore a variety of Uzbek arts and motifs. Today, the palace operates as a museum where you can see samples of palace furniture and household items, Chinese and Japanese porcelain and a collection of national clothing from the 19th century decorated with the famous Bukhara gold embroidery. The ornate interiors are the real showstoppers here, though. The Bukharian masters who built the palace were trained in Russia, so you’ll spot a mixture of Eastern and Western architecture and flourishes.

AUTOGRAPH ART GALLERY Located in the heart of Tashkent, this modern art gallery aims to support and amplify the incredible art being made in Uzbekistan today, and in particular to support the country’s young and emerging artists. To achieve this, Autograph showcases a huge cross-section of Uzbek modern art styles and mediums. The gallery’s main collection is a set of works by hereditary craftsmen that includes ceramics, silk carpets, suzani, jewellery, accessories and national clothing. Together this collection shows the wealth of Uzbekistan’s distinctive national crafts, all of which are made by hand using traditional, ancient methods. Autograph hosts regular public events, such as exhibitions. masterclasses and private views.

ART

2022 • No. 32 The main national art collection of Uzbekistan is held at the State Museum of Arts in Tashkent, and is one of the best ways for visitors to get acquainted with the expanse of Uzbek art. When it was founded in 1918, the museum’s collection included 100 works spanning the genres of art, including a sizeable collection of paintings and graphics, as well as sculpture, porcelain by Russian and Western European masters. Most of the original works were drawn from the collections of Prince Romanov as well as other private art collectors of that time, and became the foundation of the national collection after the Soviet revolution and Uzbek independence. This fine collection has grown extensively over the years, and now includes important works by Uzbek artists as well as those from the Turkestan Museum of Local Lore and special exhibitions from museums in Moscow and St Petersburg.

masterclasses. Master ceramicist Alisher Nazirov has been crafting pottery since he was 12 years old, and now passes his skills on to his apprentices.

BONUM FACTUM Part art gallery, part residency, part event space, BONUM FACTUM is contemporary art gallery in Tashkent. It aims to be a space that fosters new work and open discussion on issues of contemporary art and education in Uzbekistan, and how to elevate and market Uzbek art internationally. It also houses a unique photo archive of the historical and cultural heritage of Uzbekistan. BONUM FACTUM is located in a very unique space: the renovated basement of a former orthopedic hospital that once served as its bomb shelter. Covering 800 square metres, the gallery consists of three exhibition halls, a press room and photo studio.

RISHTAN: GLAZED CERAMICS The village of Rishtan, 50km west of Fergana, has been famous for its unique pottery since the 13th century. Rishtan pottery stands out for the richness of its decorative elements, which are predominantly blue shades. This unique blue glaze, known as ishkor, is produced by hand from natural mineral pigments and local plants. The ceramics themselves are crafted from a red clay that is only found in the surrounding area, giving this pottery a very special look not found elsewhere. Local ceramic artists have been passing the tricks of the trade down from generation to generation here. There are a number of ceramics workshops in Rishtan, the most well-known of which is the Alisher Nazirov ceramic studio. There is also a guesthouse offering accommodation and pottery-making

VIST UZBEKISTAN

UNUSUAL CHESS AT

The AUTOGRAPH Art Gallery in Tashkent houses a fantastic collection of exquisite, handmade sets. Walnut chessboards inlaid with mother-of-pearl and wooden, painted or brass figurines.

From an artistic point of view, a chess piece is a miniature sculpture while the chessboard is an artistic space. Chess originated in India around the 6th century. For a long time, masters competed to make the most beautiful chess pieces using incredible imagination. Today, chessboards and pieces are an Uzbek craft – stunning, intricate chess sets created by modern masters come at a high value. Wood carving is a delicate art, requiring true skill, dedication and taste. When crafted by the most skilled hands, chess sets become sacred creations embodying the most intellectual game in the world. The best game pieces and boards are crafted from wood and are true masterpieces that convey the artist’s imagination

and skill. True artists opt to use only the most precious types of wood, which emit warm and invigorating energy. This material also shows the full beauty of each ornately carved pattern, playing with each shade of an elegant palette: beige, cream, chocolate, olive. These are truly unusual works, often unlike the classical chess forms. These unique chess boards are highly valuable because of the hard work that goes into each creation – some requiring up to several months to be crafted. Handmade works of art, these boards cannot be compared with those produced in a factory because a master puts a piece of their soul into each figure. Whether as a gift for a true chess connoisseur or a beautiful decorative element for any home, a handcrafted Uzbek chess set makes a truly unique souvenir.

2022 • No. 32

ADVERTORIAL

Address: 1, Ataturk st, Tashkent Landmark: Academic Russian Drama Theatre Tel.: +998 (71) 203 00 33 +998 (71) 203 00 34 www.autograph.uz

VIST UZBEKISTAN

— Hello

— Good evening

— Nice to meet you

— Thank you / Thanks

— Where are you from?

— Bon Appetit!

— It’s very beautiful

— Delicious!

— How do I get there?

— What time is it?

Salom 4

Soat nechi bo’ldi?

— What is it?

— Did you like it?

— Let’s go

— Stunning landscape

— Very interesting!

— Good luck!

— How much does it cost?

Bu nechpul turadi?

— I like it

Menga yoqdi

— What do you think?

Siz nima dib oylaysiz?

— Map (How far is it?)

Kharita (Qancha uzoq?)

Juda qiziqarli

Ishlaringizda omad

— Help!

Yordam!

Ajoib manzara!

U yerga qanday boraman? 28

Kettik

Judayam mazzali 25

— Welcome

— All right / OK

Hammasi joyda

Sizga yoqdimi?

Judayam chiroyli 22

Bu nima?

Yoqimli ishtakha 19

— How are you?

— My name is …

Mening ismim . . .

Khush kelibsiz

Qayerliksiz? 16

Qalaysiz?

Rakhmat 13

— What is your name?

— Good afternoon

Khayrli kun

Ismingiz nima?

Tanishganimdan khursandman 10

Khayrli tong

Khayrli kech 7

— Good morning

— Excuse me

Uzur

— Goodbye

Khayr

2022 • No. 32

Tashkent’s art scene has come along leaps and bounds in recent years, with many galleries, museums and local workshops popping up where you can admire beautiful works or explore your own creativity firsthand.

Words: Setora Kholikova

Another art space that is worth to visit is Resin art, which is an art studio located at the Yakkasaray district in Tashkent. The founder of the studio is a girl named Muslima, who is an artist-designer by education and began her career exclusively in the technique of resin art. Prior to the opening of the studio, Muslima was the first to start teaching exactly this technique. She worked in various workshops around the city where she taught people the art of resin. Later, she opened her own studio under the brand name «Resin Art by Khayitova». They teach only this technique and resin art is their only focus, but nevertheless, they provide professional courses from 0 to perfection, hold both collective and individual master classes. They can teach this technique not only in their own studio, but also offer on-site workshops, where they can come to the territory of individual corporate areas. The studio also has its own store where you can buy all the necessary products for creativity. Additionally, you can order paintings made of epoxy resin. They had several large-scale projects, where they poured epoxy resin models for large organizations and companies in the city, conducted online master classes, did interior paintings, one of which was recognized as the largest epoxy resin painting in Eurasia.

Phone number: +998 94 686 97 77 Address: 73, Yusuf Khos Hojib street Instagram: @resinart_khayitova

ADVERTORIAL

VIST UZBEKISTAN

Handcrafting a Future Words: Shodiya Khamidullaeva “The grandeur of a profession is...above all, uniting people: there is only one true luxury, that of human relationships.”

-Antoine de Saint-Exupéry

Uzbekistan’s handicraft arts are a unique form of creation featuring rare beauty. Each region of the country is famous for its own unique handicrafts, leaving their imprint on the country’s long history and vibrant mix of cultures. The British Council has 20 years’ experience working in the creative economy, connecting ideas and experience from the UK with partner countries to co-create activities that develop policy, improve infrastructure, empower local creative talent and increase greater international understanding. The British Council recently launched a programme, Crafting Futures, aimed at preserving and developing handicrafts in Central Asia. By spreading knowledge about Uzbek crafts, the project seeks to strengthen the country’s cultural traditions and improve the quality of handicraft practices. In a series of roundtables and international workshops in collaboration with UK partners, including the University of Leicester, the Uzbekistan Crafts Association “Hunarmand” and Human House Art Gallery, the project developed new platforms and tools to support regional craftsmanship. Crafting Futures has helped dozens of craftspeople to strengthen their craft, make connections abroad, understand the structure and function of international markets and festivals, find like-minded people and further realise the importance of their crafts. We spoke to several participants and partners about the workshops and sessions, and what has made Crafting Futures a success.

Galina Koretskaya - Head of Central Asia Arts, British Council

Lola Saifi – Owner/Art Director, Human House Art Gallery Curator

In the 21st century the importance of the creative economy has become clearly evident. Its importance lies in the fact that the main driver of this type of economy are ideas and talent, and ideas, as it is now “fashionable” to say, are the new oil and it will never end. Creative and cultural industries include those industries where the main driving force is people and their ability to think creatively, to create new meanings, new original products and services. A contribution to the development of creative industries is a contribution to the development of human capital, the main resource of any city or country’s economy.

“In a team with other partners, we conducted training sessions for craftswomen. The two-day training focused on the various skills and knowledge necessary to be successful in international markets. These include communication with foreign customers, product positioning, colour palette and much more. What makes this programme special is that we tried to give as much knowledge to as many people as possible. The women artisans were very satisfied. For me, the most important thing was that these ladies bonded and agreed to support each other in the future. Through this programme, we have been able to achieve this.”

ADVERTORIAL

2022 • No. 32

Aziz Murtazaev – Deputy Chairman, Hunarmand Association Curator

“The aim of the programme was to provide craftswomen with the knowledge to improve their products. During the training, we devoted attention to learning about export documentation, how to establish contacts with foreign buyers and what kinds of international markets and exhibitions exist. This project is different because it is aimed specifically at women, and before now, workshops like this had never been held. I was also surprised by the enthusiasm and interest shown by the participants. I was happy to see that, after the training, many of the women had already signed contracts with foreign buyers. You can see the result of the work done. Such effective programmes make a significant contribution to the development and empowerment of craftspeople.”

Feruza Kurbanova Participant

“Since 2016, I have been making national clothes and accessories in Tashkent. When I heard about the launch of the training competition within the Crafting Futures project, I knew right away that it was a great opportunity. The event helped me to exchange experiences and make friends with craftswomen working in other fields. It was great to hear their stories and learn how they work. The impressions I’ve had were all good, as the workshop provided very valuable knowledge and experience.”

Sadokat Mirzaeva Participant

“For many years I have been weaving dolls. These products are environmentally friendly, which is very important today. I was amazed by the experience of the participants, who have been working in the craft for almost 30 years. There is a lot to learn from these women. During the training, I gained very clear concepts and knowledge that dramatically changed my approach to production. The personal advice offered by the mentors was the most valuable asset to me. I really felt the impact of the training and how much I gained from it.”

Gulmira Islomova Participant

“For decades my family has been practising hand embroidery. All the experiences and knowledge I gained during the training are incomparable. I did not expect such an abundance of opportunities and attention. Especially valuable to me was learning how to dye yarn, as this is directly related to my craft. I am now working on expanding my production, but I already want to promote myself under a personal brand. This project has inspired and encouraged me to take that step.”

HERITAGE

VIST UZBEKISTAN

FIT FOR A KING Malokhat Rakhmonova uncovers the royal history of Uzbekistan’s national fabric.

Rainbow silken fabrics are an integral part of Uzbek culture, and the silk from Margilan is particularly renowned for its unique, colourful patterns. Silk was a valuable commodity traded on the Silk Road from Khorasan and Egypt to Baghdad and Greece. These fabrics, known as khan-atlas, were passed down through families, given as gifts and traded at high prices. The name of the fabric has a unique heritage. The word ‘atlas’ comes from the Arabic for ‘smooth’, a reference to the fabric’s stunning, shiny texture. According to legend, one day a ruler (khan) of Margilan fell in love with the daughter of a poor weaver and decided to make her his fifth wife. This dismayed the girl’s father, who fell at the khan’s feet and begged him to release his young daughter. The ruler agreed, but only on the condition that, by morning, the weaver would create something so beautiful that it would outshine the beauty of the girl. The grieved old man travelled to the riverbank, where he spent a long time pondering, and so did not notice as the rain began to mix with his tears. When the downpour stopped, the man saw a rainbow of clouds reflected in the water. At this, he exclaimed, “Oh sky, thank you for the idea!” He quickly went to his workshop and toiled all night, and in the morning he unfolded a cloth as bright as a cloud and as light as air, shimmering with all the colours of the rainbow, the likes of which had never been seen before.The khan asked the old man how he managed to create such a miracle in one night. He answered:

THE NAME OF THE FABRIC HAS A UNIQUE HERITAGE. THE WORD ‘ATLAS’ COMES FROM THE ARABIC FOR ‘SMOOTH’, A REFERENCE TO THE FABRIC’S STUNNING, SHINY TEXTURE.

I took the green of the leaves washed by rain, added the colour of tulip petals, the blush of dawn and rich blue of the night sky, the highlights of the sun on the fast-flowing water of a canal, splashes of my beloved daughter’s eyes and mixed them together. The ruler was so overwhelmed by the beauty of the fabric that he forgot about his bride and agreed to let her go. From that day, the cloth was called khan silk, or khan-atlas. It has been a proud name for centuries. Royal silk delights everyone who looks at it with its beauty and envelops those who wear it with tenderness and coolness. Initially, the centre of silk production was Bukhara, but later the most colourful fabrics began to be produced in Margilan. Silk masters of the Fergana Valley city use a unique technology to extract threads from cocoons and dye the cloth fibres.

2022 • No. 32 The process of making these fabrics by hand is very labourintensive and involves up to forty steps. First, the cocoons are boiled, then the fine threads are drawn from the cauldrons. The threads are dyed only with natural dyes. Colours and patterns are applied in advance before the cloth is woven. Dyes are made from natural materials, like pomegranate peel, onion husk, root extracts, fruits and plant leaves. The special dyeing technique is used to create a unique pattern with blurred outlines. This pattern is called abr (cloud) – better known as ikat. The modern, automated process of making khan-atlas differs from the manual process used by masters. Factories dye readymade fabrics, while craftsmen first dye the yarn before weaving it skilfully into cloth. In earlier times, only the rich could afford to buy clothing made of khan-atlas, but gradually the ‘king’s silk’ became more accessible. In a globalised world, however, khan-atlas gradually fell out of everyday use, as modern fashion replaced the national dress. Reassuringly, today the khan-atlas has regained its reign, once again adorning the people of Uzbekistan. Folk artisans have revived the process of making the national fabric and young fashion designers have elevated it by creating modern styles using khan-atlas fabrics. The ikat has been taken up by international fashion designers and has graced catwalks in the collections of John Galliano, Gucci and Oscar de la Renta. Today, rainbow silk continues to reign supreme, delighting its wearers with its brightness, softness and beauty – khan-atlas is, quite literally, the fabric of Uzbek identity.

CRAFT

GASTRONOMY

VIST UZBEKISTAN

Words: Fatima Abdieva Photo: Andrey Arakelyan One of Uzbekistan’s most delicious and beloved dishes is samsa, a puff pastry with a variety of fillings, which comes in all shapes and sizes.

Samsa: an Uzbek delicacy. These little, savoury puff pastries are not unlike Indiansamosas, Italian calzones and Cornish pasties. So where does this dish come from? There is a beautiful and tragic legend of a lovely young woman, Samsa and her beloved jigit (young man). Samsa was languishing in a lonely tower and when the young lad rode to her on his horse, she did not want to wait another minute to be in his arms. In a rush, she jumped out the window hoping that her love would give her wings. Sadly, no miraculous wings appeared and Samsa fell to her death. Even in death, she was incredibly beautiful and the grief-stricken young man created a pastry bearing her nameto pass down the memory of his beloved. While this is only a romantic legend, historical records show that samsa-like pastries spread and became popular during the campaigns of 14th-century conqueror Timur (Tamerlane), while other sources claim that the dish spread much earlier, during the reign of Alexander the Great in the 4th century BCE.

GASTRONOMY

2022 • No. 32

Kok Samsa Recipe Here is a simple recipe for kuk samsa to try at home this spring: 1.

2. 3. 4. 5. 6.

7. 8.

Wash and finely chop herbs (clover, mint, coriander, or even spinach). Green or white onions can also be added. Season with salt, pepper and spices (such ascumin). Heat half a cup of vegetable oil in a pan and add chopped herbs. Sautée until any liquid has evaporated. Set aside in a bowl. Make a dough of puff pastry, unleavened dough or yeast dough. Roll the dough out and cut it into thin pieces the size of a small saucer. Add a spoonful of herb filling to each parcel. Many people add fat to the filling, such as mutton (dumba) or beef fat. Pinch the dough closed into your desired shape (triangular or crescent are traditional) and place onto a baking sheet with the sealed portion facing down. Brush the top of each parcel with egg and place in a pre-heated oven. Bake on medium heat for about 30 minutes. As soon as the parcels begin tobrown, remove and let cool for 5 minutes.

The samsa fill the kitchen with intoxicating aromas and the herbs are juicy and tasty. Enjoy!

Making Samsa Various recipes for samsa have been passed down over time, with all sorts of different shapes and vitamin-rich fillings like chicken or meat, vegetables, pumpkin, potatoes and herbs and spices. Samsa is a traditional snack in many regions of Uzbekistan, each with its o unique flavours, fillings and pastry styles. According to ancient tradition, samsa are prepared in a large clay oven called a ‘tandir’. Hot coals are placed at the bottom of the oven and the filled pastry parcels are fastened directly to the walls. The heat from the coals quickly cooks and browns the pastry – this style of cooking differs significantly from samsa cooked in the oven having been imbued with the distinct flavours and smells of the oven. Today, no Central Asian festive table is without samsa. For Uzbeks, the arrival of spring evokes special awe and samsa are eaten on the day of Navruz (Persian New Year). Seasonal samsa come in two types: the common ‘kuk’ variety (samsa with herbs/greens) and the rarer ‘mador’ samsa filled with a special mountain-grown grass called ‘mador’ (Мадор).

VIST UZBEKISTAN

2022 • No. 32

HILTON

WELLNESS HOTEL&SPA

AUTOGRAPH

2, Islam Karimov st., block 5, Tashkent Tel: +998 (71) 210-88-88

71, Kibrayskaya st., Tashkent Tel.: + 998 (71) 203 17 17

1, Ataturk st., Mirabad district, Tashkent Tel: +998 (71) 203-00-33

www.tashkentcity.hilton.com

www.wellnesshotel.uz

www.autograph.uz

MUSEUM OF APPLIED ART OF UZBEKISTAN

HAMPTON BY HILTON

MASTERSKAYA

17, Istiqbol st., Tashkent Tel.: + 998 (71) 205-22-00

31, Shaykhontohur street, Navruz park, Tashkent Tel.:+ 998 (97) 754 05 15

www.hampton.com

@masterskayauz

BEGIM PARFUM GALLERY

RESIN ART

KITOB OLAMI

7, Shahrisabz st., Yunusabad district, Tashkent Tel: +998 (71) 233-84-84 www.parfumgallery.uz

69, Yusuf Khos Hojib street, Yakkasaroy district, Tashkent Tel.:+ 998 (94) 686 97 77 @resinart_khayitova

6/7, Mustakillik avenue, Mirzo Ulugbek district, Tashkent Tel.:+ 998 (71) 232 11 44 www.knigamir.uz

15, Rakatboshi st., Yakkasaray district, Tashkent Tel.:+998 (71) 256-40-42 www.artmuseum.uz