Visit Uzbekistan Issue 31 - Jan 2022

2022 • No. 31

Life Is a Journey

Amirsoy is a four-season mountain resort located in Uzbekistan. Situated on an area of 900+ hectares, Amirsoy enjoys one of the most beautiful and picturesque locations in the capital region. The resort sits on the spurs of the Chatkal Ridge in the western part of the Tien Shan mountains, just 65km from Tashkent.

Amirsoy is actively expanding and already boasts 40 fully functioning alpinestyle chalets, a spa complex, three restaurants serving Uzbek and European cuisine, a multifunctional service centre, gondola and chair lifts, ATV rentals and snowmobiles, picnic areas and a media centre providing photo and video services.

The resort is expanding and will soon include new three-star and four-star hotels, an

aqua-park, and the spectacular 2290 Restaurant uniquely situated on the top of the mountain at 2290m above sea level.

Amirsoy’s unique atmosphere and first-class service attract visitors year-round. Guests have access to a wide range of active entertainment for every taste in winter and summer. The resort will appeal to a wide range of visitors, from professional athletes and adventurers to families and young travellers.

Get in touch Tel: +998 (71) 200-22-90 E-mail: info@amirsoy.com Web: www.amirsoy.com Instagram: @amirsoyresort Address: Amirsoy Resort, Chimgan KFY Territory, Bostonlik District, Tashkent Region, Uzbekistan

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Editor-in-chief Dinara Dultaeva Editor Megan Eaves Project Manager Sabina Odinayeva Graphic designer Barot Rakhmatov Sales & Distribution Madina Abdukadirova PR Department Ekaterina Ustinenko

Every person, nation and destination has its own story. And we are proud that for five years Visit Uzbekistan has been sharing stories from different parts of Uzbekistan. In this issue, we tell you a lot about the Khorezm region — home to people with a fiery culture and strong traditions. In "10 Reasons to Visit Khorezm" (p.14), we tell you why the region is worth a visit. The unique features of Khorezm are presented in detail, including the walled old town of Ichan-Kala (p.30), the magical local dance, lazgi (p.38) and the beautiful Khiva Puppet Theatre (p.42).

In this issue, we also captured a big day in the history of our publishing house, Dinara&Co.: the publication of a remarkable book, Empires of Silk, which captures the story of silk's emergence in Uzbekistan (p.52). The idea of the Silk Road continues at the cover of the 31st issue of the magazine, created in collaboration with the Silk Road Treasures line by Begim Perfumes and Uzbek clothing by Dilnoz's Collections. (p.24).

We also welcome the continuing interest of foreign creatives wishing to share their experiences in Uzbekistan. In this issue, we feature artist Ronald Kleier (p.34) and French photographer Julian Elliot (p.36). As always, we are always ready to hear from authors, writers and artists who want to share their creative vision of Uzbekistan. We hope you will join us in discovering this beautiful country together.

Happy travels, unforgettable trips and unexpected discoveries!

Dinara Dultaeva

Contributors Farangiz Salokhodjaeva, Shodiya Khamidullaeva, Sabina Sharipova, Valeria Galikhanova, Holly Mamayusupova, Aisha Parpiyeva, Karine Bagdasarova, Durdona Shavkatova, Guzal Kambarova, Innessa Anokhina, Karomat Gaffarova Photography Feruz Rustamov, Khamdam Sharakhmedov, Dmitriy Luzanov, Mukhiddin A Lee, Javakhir Mirsalikhov, Isfandiyor.

Visit Uzbekistan magazine

2022, No. 31 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. 14 All rights reserved. © Dinara&Co. © Dinara Dultaeva

Dinara Dultaeva

@dultaeva

@dultaeva

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CONTENTS

VISIT UZBEKISTAN

ISSUE NO. 31

MEDIA HIGHLIGHTS Travelling in Uzbekistan 2022 The best things to see and do in Uzbekistan this year

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JOURNEY 10 reasons to visit Khorezm Why everyone should visit this stunning southwest region

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ART Ronald Kleijer: artist of Planet Earth The Dutch painter whose art shows his love for Uzbekistan

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CONTENTS

VISIT UZBEKISTAN

ISSUE NO. 31

CULTURE Dance of Sun, Dance of Life Divine melodies of Khorezm’s joyous lazgi dance

38 EVENT Empires of Silk Book Launch A historical novel

by Akbar Khakimov

52 Photographer: Isfandiyor Designer: Dilnoz Erkinova Model: Luiza Zakirova Venue: Museum of Applied Art of Uzbekistan

2022 • No. 31

COVER

Your Personal Travel Magazine

2022 • No. 31

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TRAVELLING IN UZBEKISTAN 10

VISIT UZBEKISTAN

Text: Sabina Odinayeva | Photos: Feruz Rustamov

Uzbekistan has been ranked as the best tourist destination in the world by The Guardian, the fastest growing country by Wanderlust and the best developing tourist destination by Grand Voyage, and achieved fifth place in The Times' ranking of terrific places in the world. As a result of consistently implemented measures, Uzbekistan has risen 10 places (to 22nd) in CrescentRating's Global Muslim Tourism Index.

In 2019, Uzbekistan’s tourism industry achieved the highest performance in its history. According to the UN World Tourism Organisation's assessment, Uzbekistan was among the top five countries with the fastest-growing tourism industries. While COVID-19 has been a barrier to the rise of Uzbek tourism, investments in the sector did not stop even during the most difficult months of the pandemic.

In response to the pandemic, the project "Uzbekistan. Safe travel guaranteed" was created, introducing a new hygienic and healthand-safety system for tourists based on international standards.

The Times: Best for striking architecture “The Silk Road’s romance is imbued in Uzbekistan’s world-class architecture and with visa-free entry, the country is flourishing as an alternative summer holiday destination. There’s plenty to see, with highlights including Tashkent, rich with museums and Soviet edifices and Samarkand, the gilded former capital of the fearsome Tamerlane, where the Registan’s blue-tiled mosques are an ancient wonder of the world. Further west along the Silk Road is Bukhara and its nebulous calamine-hued lanes that colour-match the desert. Meanwhile, Khiva’s 1,500 years-old Islamic architecture is so well preserved it could easily be the backdrop of a blockbuster.”

Financial Times: Could Uzbekistan be skiing’s next big destination?

“Lift tickets are cheap by industry standards, at about £17 for a day pass, but Amirsoy is also trying to appeal to a luxury market.

At Le Chalet by Amirsoy, 40 well-appointed, if slightly cheaply constructed, cabins are spread out just beyond the base station, each with its own kitchen and faux-marble bathrooms. At one of the resort’s restaurants, housed under a huge and sleekly decorated geodesic dome, the steaming Uzbek manti dumplings and fluffy plov (a kind of pilau) are by orders of magnitude the best food I’ll eat in the country.

Uzbekistan is traditionally a place only the most intrepid skiers would venture in search of untouched snow and affordable heli- skiing.”

MEDIA HIGHLIGHTS

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The Guardian: Historic Photographer of the Year awards 2021 This year, Dinara&Co Publishing House and French photographer Julian Elliott launched a new project, 100 Experiences of Uzbekistan, a book of Julian's photographs taken in Uzbekistan. In November, Julian was shortlisted in The Guardian’s Historic Photographer of the Year awards for his photography of Uzbekistan. The awards celebrate amateur and professional photography of cultural sites and historic places across the globe, from national treasures to hidden gems.

WHAT’S HAPPENING IN 2022 Visit Uzbekistan has rounded up the most exciting events and openings for 2022 for tourists and business visitors.

Hyatt Regency Hotel will open in Bukhara

The first-ever 'Lazgi' festival will be held in Khiva

Samarkand’s new international airport will open

The International Festival of Gold Embroidery and Jewelry Art

The high-speed train network will extend to Khiva

Festival of music, art and science Stihia on the shores of the Aral Sea

The State Museum of Art will open after a major renovation and expansion led by Japanese designer Tadao Ando

Eurasia International Theatre Festival in Tashkent

The new Silk Road Samarkand complex will open

Sharq Taronalari International Music Festival

Opening of the restored residence of Prince Romanov in Tashkent as a branch of the State Museum of Art

II International Festival of Handicrafts in Kokand

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LANDSCAPE

VISIT UZBEKISTAN

Land of a Thousand Fortresses

Text: Sabina Odinayeva Photos: Khamdam Sharakhmedov

Located in the western part of Uzbekistan, Khorezm is one of the oldest historical and cultural areas in Central Asia. Sources from the Arab conquest period refer to Khorezm as the ‘Land of a Thousand Fortresses’.

Khorezm is first mentioned in the Zoroastrian Avesta. According to legend, it was the birthplace of Zarathustra, the founder of Zoroastrianism. The history of Khorezm goes back almost three thousand years – it is as old as the ancient civilizations of Mesopotamia, Egypt and India. Khorezm is also unique for its architectural monuments. And of course, the rich culture of Khorezm differs sharply from the rest of Central Asia in terms of identity.

Within the Khorezm region, archaeologists have discovered many ancient settlements that were once mighty fortresses and royal palaces. Thousands of forts are spread over vast expanses of waterless steppes, guarding the secrets of ancient Khorezm.

Toprak-Kala, Dzhanbas-Kala, Koy-Krylgan-Kala, Kyzyl-Kala and Ayaz-Kala (‘kala’ simply means fortress) are the most famous, though there are many.

Even now, the grandeur and scale of the ruins amaze with their magnificence and power. The fortresses vary in size and height.

Some served as places of worship, while some were home to the families of rulers and ordinary people. Tall walls and towers protected them from enemy raids. These structures were made of clay and raw bricks and were generally rectangular in shape.

Over time, the fortresses were abandoned as the course of the Amu Darya River changed, or they were destroyed by enemy raids and changes of power. Desolate desert outposts, today the fortresses are something mysterious, lonely and sad.

After Khorezm was conquered by Arabs in the 8th century, the art developed features common to all countries of the caliphate.

The architecture began to use tent and dome structures, fired bricks were used in masonry walls and carved terracotta and glazed pottery can be seen in the decor.

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Khiva is a unique phenomenon for Central Asia – a monument of town-planning that has remained intact. The historically established layout of the street network and buildings within the double ring of city walls (the Itchan Kala and Dishan Kala) has undergone almost no changes, even in modern times. More than 6000 people still work and live day-to-day life in this inner city.

Despite its ancient appearance, Khiva remains a living city.

The Khorezm region’s draws go beyond the many ruins of ancient and early medieval fortresses. The region can rightfully be considered the birthplace of one of the world's oldest religions, Zoroastrianism. Researchers of the Avesta, the sacred book of Zoroastrianism, believe that the territory of greater Khorezm (which included the territories of Khorezm itself, as well as Turkmenistan, Afghanistan and areas up to northern Iran) was the birthplace of this ancient religion.

The boundaries of ancient Khorezm stretched into the presentday territories of Turkmenistan, Uzbekistan and Kazakhstan. It was full of activity thanks to the Silk Road, which passed through the region. Khorezm’s ancient cities played an important role as stopovers and market centres along the main trade routes.

The development of science also had significant moments in the Khorezm region. Al-Kharizmi (8th-9th centuries) was a scientist known for his remarkable work in mathematics (especially algebra), geography, astrology and astronomy. He travelled the Silk Road from Khiva to Baghdad. Likewise, Al-Biruni (973-1048) was another scientist who compiled data on the Khorezmian calendar.

Travelling through Khorezm is like journeying through the past.

The atmosphere of Khorezm captivates visitors with its fullness of history and life meaning. The ‘Land of a Thousand Fortresses’ is definitely a must-visit for everyone who comes to Uzbekistan.

LANDSCAPE

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10 REASONS TO

VISIT KHOREZM Text: Farangiz Salokhodjaeva | Photos: Feruz Rustamov, Khamdam Sharakhmedov In the southwest of Uzbekistan, at the crossroads of Central Asia lies the region of Khorezm. Its fertile soil and mild climate have attracted people since ancient times, and because of this, it was a centre of ancient culture. Impressive fortresses and royal palaces were built in antiquity and the early medieval eras, some dating back almost three thousand years. These astonishing constructions are on a par with the Egyptian pyramids and Greek temples in terms of their importance and complexity. Khorezm can also rightly be considered the birthplace of the Zoroastrian religion, whose foundations are reflected in the distinctive local culture.

Here are 10 reasons to visit this lesser-known but no less beautiful part of Uzbekistan.

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Ancient Khiva Khiva, the heart of Khorezm and the first city in Uzbekistan inscribed on the UNESCO World Heritage List in 1990, is one of the most ancient locations on the Silk Road. It has been a centre of education, science and culture, and a cradle of civilisations for 3000 years. The Old City of Khiva is a collection of well-preserved palaces and bastions, mosques with minarets, madrasahs, burial vaults, bathing complexes and inns that once made up a vast fortress. Towering over the old town, it’s hard to miss the turquoise-tiled Kalta Minor Minaret, which was built in the 1850s by a khan who wanted to see all the way to Bukhara.

Local Language The distinctive dialect of the region’s inhabitants has preserved elements of the ancient Khorezmian language – evidence of the people's rich history. The dialect was formed by the mixing of the languages of Turkistan and East Iranian. It was originally spoken

by Khorezmians prior to the 1st century CE. A glance into history reveals that Khorezm resisted any power from outside; for example, Khorezmian women never wore a paranja (veiled robe).

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Sufi Sights Before the 1st century CE, the ancient Khorezmians were powerful and knowledgeable. The memorial complex of Pakhlavan Mahmud in Khiva is a place of pilgrimage as it is the tomb of the namesake poet, enlightener, Sufi and philosopher. Mahmud was famous for his nobility, wisdom and poetry, and was Khiva’s patron saint. A famous wrestler, ​​Pakhlavan Mahmud took part in matches and tournaments in India, Afghanistan, Iraq and Iran. He wrote primarily rubai (quatrains) and poems, the most famous of which, "Kanzul Hakoyik" (“Collection of Truths”), reflects the ideas of Sufism.

Land of Insights Khorezm is famous not only for its history but also for producing talented figures of science and art, including the great scholar Muhammad ibn Musa al-Khwarizmi. He is considered the grandfather of computer sciences and the creator of algebra.

Musicians Komiljon Otaniyazov and Olmakhon Khaitova are also worth mentioning among his contemporaries. Komiljon Otaniyozov gave most of his royalties to orphanages, while Olmakhon Khaitova delighted the people of Uzbekistan with her songs and playing of the rubab (similar to a lute).

Magical Music Music is the Khorezmian people's main inspiration. Here, people of all ages and backgrounds love to sing and dance. From early childhood, young people learn how to move to the rhythm of the fiery local dance, the lazgi. Initially, Khorezmian dances were performed only by men during city celebrations or in the ruler’s palace, but this has changed over time and the dance is now performed by people of all genders. The great polymath Avicenna called this dance "the melody that gives life to the dead" because of its lively steps and slow-building movements. Its distinctive musical attributes are the kairok, an instrument consisting of a flat rock knocked against a steel plate, and the choirma, or caracole hat, which serves as the symbol of the sacredness of the dance.

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Arts and Crafts Khorezm is a land of many crafts and local children learn craftmaking from an early age. From time immemorial the masters of Khiva have been famous for their artistic flair, fine taste and high workmanship. The region is considered a centre of artistic metalwork, woodcarving, special gift knives with a pointed blade called a guldor pichok, carpet weaving, jewellery, painting and more. Khivan ceramics are particularly special because they combine a turquoise glaze with white background and vice versa.

The style of painting on tableware is identical to that of the local architectural decorations. And from the 19th century until the early 20th century, Khorezm was also a centre of stone carving.

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Citadels and Fortresses Ancient Khiva has been called the ‘Egypt of Central Asia’, as there are more than a dozen fortresses in the city. The city is divided into the inner Ichan-Kala (shahristan) and the outer town, DishanKala (rabad). Spread over 26 hectares, the Ichan-Kala fortress is surrounded by a 10m-thick earthen wall. There are about 60 grandiose constructions dating to the 5th and 6th centuries concentrated into an open-air museum: palaces of rulers, mosques, madrasahs, mausoleums and minarets. The tourist route includes excursions to the Kunya Ark citadel complex, the Tash-Khauli palace complex, the unfinished Kalta-Minor minaret, which is covered with glazed tiles, the famous Juma mosque with its 213 carved columns and the 45m-high Islam Khoja minaret – the best viewing platform in the city.

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Stunning Landscapes Ecotourism is on the rise in Uzbekistan and Khorezm is a hotspot thanks to its biodiversity and stunning landscapes.

There are camel and horse rides through the Kyzylkum Desert, boating, fishing, an ostrich farm to visit and overnight stays in cosy yurts.

A short drive from the ancient city of Khiva, near the village of Chinobod, a narrow flat road leads to an artificial lake in the heart of Kyzylkum – an ideal place for fishing. On 20 hectares there is an artificial fish pond, where about 30 tons of various fish per year are raised. Special piers and facilities offer recreation along the Shovot Canal in Urgench. Around 90 km from Urgench on the lakeshore is the 3000-year-old Kaladjik Fortress. A health resort was constructed here to take advantage of the salty lake’s healing properties. Water treatments are aimed at cardiovascular and nervous system health, treatment of joint ailments and kidney function, among others.

Fabulous Food The Khorezm region is famous for its flatbreads, fish and the best varieties of rice. Patir (layered flatbread) is a typical snack here — the popular qizil patir is made with tomato sauce, while other types are kneaded with milk or topped with cracklings.

Khorezm's hearty dumplings are made with an unusual filling called tukhum barak or yumurta barak: a liquid mixture of beaten egg, milk and melted butter or sesame oil. Sometimes a little minced meat or fried onion is also added. Cooked dumplings are dipped in kefir.

Khorem’s other trademark dishes include shvit oshi, a type of lagman (noodles) made green by the use of dill. A popular appetiser is etjan (itzhan) — uncooked, spiced minced meat smeared on bread. For dessert, there are many varieties of melons, such as the special gurvak melon. In summer, Khiva hosts the Melon Festival Fair, where more than 50 varieties of melons are exhibited.

Intertwining Faith Khorezm’s ancient constructions depict patterns and pictures that are characteristic of a variety of religions. Various ancient pagan cults were once widespread here, but Zoroastrianism was predominant. The architecture of Khorezm is steeped in Zoroastrianism — literally, every structure bears traces of it. Islam also played a key role in the region’s development, giving a whole new appearance to places of worship and later constructions.

VISIT UZBEKISTAN

SELF-PROMO

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The book 10 Reasons to Visit Uzbekistan is perfect for those who are yet to discover this country, but want а glimpse of an ex­ traordinary and authentic land surrounded bу legends. Masterpieces of photography bу 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: UZBEKISTANBOOK.DINARA.CO

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

Bookstore Tashkent: +998 (71) 252-74-99

"Travelling robs you of the ability to speak and then turns you into the best storyteller."

Ibn Battuta, 14th century Muslim scholar and traveller

Text: Shodiya Khamidullaeva Visit Uzbekistan Magazine shows the beauty of Uzbekistan to the world. We go in search of interesting stories, facts and people across the country. The magazine has been launched in London, Delhi, Singapore, Berlin, Madrid, Moscow, Paris, Seoul, Tokyo and a number of other cities. A total of 31 issues have been published in 14 languages between 2017 and 2021, with more to come in 2022 and beyond.

Visit Uzbekistan is distributed across the country. As our readership grows year on year, so does interest in travelling to Uzbekistan, and in the country’s rich cultural and arts traditions. Here, we’ve rounded up some recent events across Europe at which Visit Uzbekistan Magazine played a special role.

Brussels, Belgium The 30th issue of Visit Uzbekistan was prepared jointly with the Embassy of Uzbekistan in the Benelux countries. It was dedicated to the Republic of Uzbekistan’s 30th anniversary of independence on 1 September 2021. This special issue was presented at a reception held in Brussels. Guests at the event included representatives from the political, expert and business communities of the EU and Benelux countries. In the 30th edition,

we featured an exclusive interview with the Ambassador of Uzbekistan to the Benelux countries, Dilier Khakimov, who spoke about upcoming reforms and bilateral relations. The issue also offered answers to frequently asked questions about travelling in Uzbekistan during COVID-19 and much more.

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Paris, France Uzbekistan's Independence Day was celebrated in Paris with an official reception held at the Embassy of Uzbekistan in France.

The grand evening was marked with national dances, music and food. Among the honoured attendees were a number of French academics and researchers, marking a growing interest among French audiences in the rich cultural, historical and spiritual heritage of the Uzbek people.

The event featured a new collection of perfumes — the "Treasures Collection" — by our partners, Begim Parfumes. The collection was dedicated to “the antiquity of the great history and culture of our country”. The evening also featured the newest issue of Visit Uzbekistan Magazine to celebrate the holiday.

Kyiv, Ukraine The Embassy of Uzbekistan in Ukraine organised an official gala evening for Uzbek Independence Day. The event began with the singing of the Republic of Uzbekistan’s national anthem and was then followed by a speech by Ambassador Alisher Kurmanov.

The evening took place at the glamorous Fairmont Grand Hotel in Kyiv, where guests enjoyed national Uzbek dance and food.

The latest editions of Visit Uzbekistan magazine were presented along with exhibitions on the contemporary art and cultural heritage of Uzbekistan.

Tashkent, Uzbekistan A co-presentation of the 29th issue of Visit Uzbekistan Magazine and the unique historical novel Empire of Silk by Akbar Khakimov was held on 3 November at the Hampton by Hilton Hotel in Tashkent. The ceremony organised to celebrate the presentation was held in the style of the Silk Road. The concept of the event presented the guests with a stylisation of a Silk Road caravan route, where applied arts masters and creatives showed their works. Guests of the event included representatives from the diplomatic corps, ministries and departments of Uzbekistan, the business community, academics and creatives.

The event continued with the presentation of a new issue of Visit Uzbekistan devoted to Karakalpakstan. The issue covered the traditions, culture and customs of the Karakalpak people, with fascinating and sometimes enigmatic stories from the lives and landscapes of Uzbekistan’s remotest corners.

Date October 2019 October 2019 May 2019 February 2020

Event organised by Visit Uzbekistan Silk Road Treasures and Art Reception Luxury Symposium International Business Partnership Uzbekistan Reception

Date November 2020 December 2020 February 2021

Event organised by Visit Uzbekistan Trip to Bukhara Trip to Khorezm Trip to Samarkand

Dilnoz Erkinova

DILNOZ COLLECTION Dilnoz Collection was founded in 2012 by talented designer Dilnoz Erkinova. In her collections, Dilnoz uses the national silhouette of Uzbekistan and combines it with modern designs. She takes her inspiration from the world around her, from the starry sky and sunshine, but she also draws inspiration from conversations with interesting people. Local craftsmanship and the culture of Uzbekistan carry a certain atmosphere that also serves as a source of inspiration.

Each time Dilnoz works with authentic, local fabrics, she discovers them in a new way, finding the individual story of each textile and ornament.

Dilnoz is a permanent participant in Tashkent Fashion Week and Kazakhstan Fashion Week, as well as other international exhibitions and fashion shows. She is currently a graduate student at L’Académie Internationale de Coupe de Paris.

INSTAGRAM: @DILNOZDESIGNER @DILNOZ_COLLECTION ADDRESS: VISITS TO THE SHOWROOM ARE AVAILABLE BY APPOINTMENT THROUGH INSTAGRAM.

FASHION

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On the Catwalk The world of fashion has long drawn inspiration from Eastern designs.

Colourful embroidery, elegant silhouettes and geometric patterns are just a few signature Uzbek features that have inspired international fashion. Uzbek designers are strengthening their position in

Text: Sabina Sharipova

the fashion world by participating in international shows, revealing and enriching the world with national styles. Here, we introduce five outstanding Uzbek fashion designers that are influencing contemporary fashion.

Elmira Batyrova

ELMIRA BATYROVA DESIGN Ever since she was in high school, Elmira Batyrova dreamed of creating her own fashion line. Her family was already engaged in the production of clothing in mass format, but Elmira wanted to do exclusive, individual tailoring. She later did an undergraduate degree at the Tashkent Institute of Textile and Light Industry and received a grant to travel to Korea to study fashion design.

All of Elmira’s products are made in her studio.

Her designs are light and airy, and do not overwhelm the wearer. Every item is unique, made in a single version and not repeated, so every client can be sure of the exclusivity of their outfits. Elmira's main values and ideologies are tenderness, lightness and finesse. The studio works together with each of its clients to design a bespoke, individual image, and each garment is made by hand. Elmira has presented her clothes at shows in Kazakhstan, Dubai and Azerbaijan, she is also a frequent participant in Tashkent Fashion Week, with plans to hit French catwalks this spring.

INSTAGRAM: @ELMIRA.BATYROVA.DSGN ADDRESS: TASHKENT, UZBEKISTAN. PARKENTSKAYA STR., 180

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VISIT UZBEKISTAN

SHOOTING THIS MONTH’S COVER PHOTO

Talented people always find each other. That is how the best people in their businesses came together to create the cover for Issue 31 of Visit Uzbekistan. World-class fragrance brand Begim Perfumes and Uzbek fashion designer Dilnoz Erkinova put together a brilliant collaboration of their work, which was shot by fantastic photographer, Isfandiyor, whose imagery has appeared in glossy magazines in Uzbekistan and abroad.

The shoot featured Uzbek models wearing gorgeous gowns from the Dilnoz Collection with bottles from Begim Perfumes’ “Treasures” fragrance collection. The shoot was held at the Museum of Applied Arts in Tashkent, where the models were backdropped by stunning geometric and classically Central Asian motifs. This iconic setting captured the timeless beauty of Uzbek culture and traditions.

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UZBEK POETRY IN LONDON Text: Megan Eaves A lyrical evening was had at the Embassy of Uzbekistan in London on 30 September 2021 for the launch of 12 Ghazals By Alisher Navoiy, 14 Poems By Abdulhamid Choʻlpon, a collection of poetry in translation by English Romantic poet Andrew Staniland.

Organised jointly by the British-Uzbek Society and the Embassy of Uzbekistan, guests were treated to a talk, poetry reading and Q&A session with Andrew Staniland, as well as a celebratory reception.

Staniland collaborated with Uzbek translators Aidakhon Bumatova and Avazkhon Khaydarov to translate 12 ghazals (short poems of rhyming couplets) by Alisher Navoiy (15th century) and 14 poems by Abdulhamid Choʻlpon (early 20th century), two of Uzbekistan’s most celebrated poets. During the event, Staniland spoke about the two poets and the different challenges of translating their work into English, and read several poems from his new book. Among the honoured guests in attendance were Uzbek Ambassador Said Rustamov, Uzbekistan’s Tourism Ambassador to the UK, Sophie Ibbotson, and Visit Uzbekistan Magazine’s Managing Editor, Megan Eaves.

The British-Uzbek Society is an independent, non-political organisation. It was formally established in July 2002 with the aim of supporting and helping to facilitate cultural, educational and people-to-people links between the United Kingdom and Uzbekistan.

Find out more: uzbek.org.uk or follow on Instagram @britishuzbeksociety

Q&A WITH THE POET Were you inspired to write any of your own original poetry about Uzbekistan (apart from the translations)?

I had the great fortune to visit Uzbekistan for the first and only time so far in February 2020 2020,, getting home a week before Uzbekistan shut its air space and the pandemic lockdown started. That trip was enough for me to write a book of poems that I published last year, A New Diwan (h/t Alisher Navoiy), inspired by the country, as well as by my idea of Navoiy. I say ‘my idea’ because so little of his work has been translated into English.

What special qualities about Uzbekistan drew you to work on a poetic translation book?

I was halfway through my next collection, which will also have a Central Asian element running through it, when I decided to do the translations, initially from frustration at the lack of translations of Navoiy and the poor quality of those few that are available. I decided to do some translations of Cho’lpon as well, partly to make the book more interesting for an English reader, and partly also because Cho’lpon was a poet of reform, a poet of freedom (personal as well as national, especially for women) and I wanted to shine a light on those ideals.

What inspires me personally about Uzbekistan, which I think is more relevant to my own poems than the translations, is the elegant spiritual beauty that you see, not only on the walls of madrasas and mausoleums but also in silks and ceramics, in the historical and the contemporary. It is what I aspire to in my poetry and what I relate to in my spiritual practice. Seeing it in front of me is quite something.

Did you have a favourite place or experience during your travels in Uzbekistan?

I’m going to choose two things. The best day was one driving in the desert of Khorezm, visiting a few of the ruined castles there. And the place that touched my heart the most was the house museum of Fayzulla Khodjaev in Bukhara, which is so delicately beautiful and a great example of the wealthy elite (a merchant family in this case) valuing the local arts and crafts, with impeccable taste.

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FEATURE

VISIT UZBEKISTAN

In search of Yasawi:

A CROSS-BORDER PILGRIMAGE

Visit Uzbekistan Editor Megan Eaves explores the legacy of the famous Sufi mystic and poet, Ahmed Yasawi, on a cross- border trip in Kazakhstan and Uzbekistan, soon to be connected by a high- speed train.

Arguably the most important figure in Central Asian Islam and a key contributor to regional literature was the Sufi mystic and poet Ahmed Yasawi. Born in Sayram (present-day southern Kazakhstan) in the 11th century, Yasawi lost his father when he was young and was raised by the spiritual master Arystan Bab. He later moved to Bukhara (Uzbekistan) and became the head murshid (religious teacher) of the Naqshbandi order of Sufism, a mystical arm of Sunni Islam. Eventually, Yasawi moved to the city of Turkistan (southern Kazakhstan), where he worked to spread Islam for the rest of his life.

Yasawi’s influence on Central Asian life and religion cannot be understated. He localised the Islamic tradition, which had been brought by the Persians and Arabs in the preceding centuries. He wrote Islamic poetry in the Turkic language for the first time and used folk poetry and storytelling techniques to make mystical Sufi concepts accessible to locals in Central Asia. Today, Yasawi is considered one of the most important saints in Central Asian Islam, as well as a treasured literary figure.

Yasawi died in 1166 in Turkistan. Today, numerous sites across Uzbekistan and southern Kazakhstan have become places of pilgrimage for Yasawi devotees. According to Axel and Balzhan Monse, the editors of Info Shymkent, an online magazine dedicated to the South Kazakhstan region, Kazakhs often make pilgrimages to Sayram, Arystan Bab and Turkistan.

A new high-speed rail line under construction between Tashkent and Turkistan will soon make a cross-border pilgrimage easier than ever. Kazakhstan has also been hard at work transforming the city of Turkistan into a modern tourism destination with a brand new international airport, luxury hotels and a huge entertainment complex, along with recent restorations to the city’s most important site, Yasawi’s mausoleum.

Here we present some of the most famous pilgrimage sites dedicated to Yasawi and his disciples in a cross-border itinerary through Kazakhstan and Uzbekistan.

TURKISTAN, KAZAKHSTAN ARYSTAN BAB MAUSOLEUM The starting place for any Yasawi pilgrimage is the city of Turkistan, Kazakhstan, where Yasawi and his spiritual teacher, Arystan Bab, are both entombed. Most pilgrims first make the trip to the Arystan Bab Mausoleum, located in the flat steppe 60km south of Turkistan.

The simple, three-room structure consists of a small mosque with remarkable, carved-wood pillars, a library with several ancient manuscripts of the Quran and the mausoleum itself, containing Arystan Bab’s grave.

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MAUSOLEUM OF KHOJA AHMED YASAWI The most important Yasawi site, and one of the treasures of Kazakhstan, is Yasawi’s astonishingly beautiful tomb — the Mausoleum of Khoja Ahmed Yasawi. After Yasawi’s death, Turkistan was renamed Yasi in homage to the spiritual master, and eventually, the city came under the control of the great leader Timur (Tamerlane). In 1389, Timur visited Turkistan and ordered new mausoleums be built for both Arystan Bab and Yasawi, with the latter’s tomb planned in the grand Timurid style of ganch construction with giant arched portals, ornate geometric ceramic designs and blue-tiled domes. The style, which became known as Timurid architecture, was perfected in the well-known Registan and huge madrasas built a few years later in Timur’s capital city, Samarkand (Uzbekistan).

Axel Monse of Info Shymkent says, “It’s interesting to mention that Timur built the Arystan Bab Mausoleum before the Yasawi Mausoleum because of a construction issue in the foundation. In a dream, Timur received a message that the teacher [Arystan Bab] had to receive a mausoleum before his student, Yasawi.”

In 2003, the Yasawi Mausoleum was inscribed on the Unesco World Heritage List, and today it is the largest mausoleum in Kazakhstan and one of the country’s most prized pieces of architectural heritage.

TARAZ, KAZAKHSTAN AISHA BIBI MAUSOLEUM One of Yasawi’s most prominent disciples was Suleiman Bakyrgani (Hakim Ata), who became an important Sufi teacher and poet in his own right. Bakyrgani had a daughter, Aisha Bibi, though he died when she was young and she was raised by one of her father’s students, ​​Sheikh Aikhodzha. There are many legends surrounding her life. The most famous story goes that Aisha Bibi fell in love with a regional governor named Karakhan, who asked her to marry him.

But her stepfather wouldn’t allow the marriage, so she hatched a plan to outwit him and secretly go in search of her love. She staged a fake battle against the invading Kara-Khitai and instead rode towards Karakhan’s home in Taraz (Kazakhstan). Sadly, Aisha Bibi died of a snake bite along the way and never got to hold Karakhan in her arms.

Karakhan built a mausoleum to his love where she died, a short distance outside of Taraz, with ornate terracotta tiles and an unusual conical roof. Today, the mausoleum is a place of pilgrimage for newlyweds, who reenact Karakhan’s journey from Taraz to Aisha Bibi’s final resting place and ask the ill-fated lovers for a blessing on their marriage.

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SAYRAM, KAZAKHSTAN Yasawi was born in 1103 in Ispidjab (modern-day Sayram, now a suburb of Shymkent), one of the oldest cities in Kazakhstan.

Both of Yasawi’s parents died in Sayram, and their mausoleums are important pilgrimage sites for Yasawi devotees.

KARASHASH-ANA MAUSOLEUM Yasawi’s mother, Aisha Bibi (for whom Bakyrgani’s daughter, above, was named) is commemorated in the simple, mud-brick Karashash-Ana Mausoleum in the centre of Sayram. Though the original grave was built here as early as the 12th century, it was destroyed, and the current structure replaced it in the 1800s.

IBRAHIM ATA MAUSOLEUM Sheikh Ibrahim – Yasawi’s father – was himself a revered prophet of Islam. ‘Ata’ means ‘father’ in Kazakh, and his mausoleum is located on a small hill on the northeastern outskirts of Sayram. The simple mudbrick walls are part of the medieval structure. This was believed to be one of the oldest domed structures in Kazakhstan, however, the original dome collapsed during an earthquake and was sensitively restored in the early 1900s.

TASHKENT, UZBEKISTAN ZANGI ATA MAUSOLEUM Yasawi connections in Tashkent are a couple of generations removed from the great spiritual leader. Sufi teacher Zangi Ata considered Yasawi his pir (spiritual leader) and was a student of Suleiman Bakyrgani (recall his daughter, Aisha Bibi, who died of a snake bite), who was Yasawi’s student. Though also known as Sheikh Al-Hodge, he was commonly called ‘Zangi Ata’, which means ‘dark father’, purportedly a reference to his dark complexion.

Situated on the southwest outskirts of Tashkent, Zangi Ata’s tomb was constructed by Timur in the 1390s and bears striking similarities to Yasawi’s Mausoleum in Turkistan, as well as the many Timurid monuments in Samarkand, with stunning geometric tiled façade and ceramic domes the colour of the sky. The complex also contains gardens and a tiled minaret, as well as the tomb of Zangi Ata’s wife, a miniature version of a Timurid structure with tiling and a singular blue dome.

Strikingly, it is situated within a larger cemetery, surrounded by smaller graves.

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KHOREZM & KARAKALPAKSTAN, UZBEKISTAN SULEIMAN BAKYRGANI (HAKIM ATA) MAUSOLEUM Yasawi’s most famous apprentice, Suleiman Bakyrgani (Hakim Ata), used simple poetic forms in the Turkic language to convey the ideas of Sufism to local people. He is considered one of the most important Sufi masters, and many legends and mysteries swirl about his life. He died in 1186 and his mausoleum is located in Khorezm, Karakalpakstan in western Uzbekistan.

At the age of 13, Bakyrgani went to a madrasa (school) in Bukhara, which is where he became a pupil of Yasawi. One day, he went with a few other pupils to gather some firewood, but it started to rain. He was the only person who thought to cover the firewood with his jacket and so when the rain stopped, they were still able to light a fire. Legend says that, after that, the saint spirit Kadr Ata gave Bakyrgani the name ‘Hakim’ (smart, clever).

Bakyrgani’s mausoleum, built in the 11th or 12th century, is located northwest of the city of Kungrad (Qoʻngʻirot) in Karakalpakstan. One legend says that after Bakyrgani completed his studies, he got married and had three children, including the youngest son, who was very talented. Bakyrgani became jealous of his son and the boy was transformed into a bird and flew away. Allah was angry at Bakyrgani because of this and said that after his death, his grave would be underwater for 40 years. Four decades after Bakyrgani’s death, a Muslim teacher named Sayhjalil found his grave and restored it.

It is a testament to Bakyrgani’s significant influence on Central Asian Islam that, despite its remote location in rural Karakalpakstan, devotees still make pilgrimages to pay their respects to the great Sufi teacher.

Megan Eaves travelled to Kazakhstan as a guest of the Nursultan Nazarbayev Foundation (foundation.kz).

SELF-PROMO

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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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ARCHITECTURE

VISIT UZBEKISTAN

Text: Valeriya Galikhanova | Photos: Khamdam Sharakhmedov

“I would give a bag of gold just to look at Khiva” ~an ancient Central Asian saying

In the Khorezm region, in the most remote tourist city of Khiva, a unique architectural monument has been preserved and included on the UNESCO World Heritage list. The Itchan Kala is an ancient city – a citadel of mosques, palaces, madrasas and minarets built over several centuries.

There is a certain magic in the fact that ancient structures make a stronger impression today than when they were first created. In 1598, the Amu Darya River changed its course (as it had done many times over the millennia), leaving the ancient capital of Khorezm, Gurganj (modern Urgench), without water.

The capital of the state was moved to one of the ancient cities of the Khorezm oasis — Khiva. Archaeological data shows that it already existed in the 5th-6th centuries, as a major stop on the Silk Road at the Kheyvak Well. The village that arose around this well in the middle of an endless desert was nicknamed Khiva.

Khiva is perhaps the most special Uzbek city. After seeing it, you can get an idea of what other Central Asian cities looked like in the distant past. It was built on a sandy hill. To construct buildings, clay was sourced from the lake at Govukkul. According to legend, the clay used to construct the Itchan Kala was from the same source as that used by the prophet Muhammad to build Medina. The local clay, which is of excellent quality, is used to this day by modern potters.

In later centuries, Khiva’s mud-brick and frame walls fell into disrepair. And in the 19th century, Allakuli Khan (1825-1842) decided to turn Khiva into one of the most beautiful and attractive cities in Asia and ordered the dilapidated, crumbling old madrasas to be dismantled. Skilled craftsmen of the time were hired to build a madrasa of burnt bricks in their place.

You could enter the city by four gates located at each compass point: Northern (Bagcha-Darvaza), Southern (Tash-Darvaza), Eastern (Palvan-Darvaza) and Western (Ata-Darvaza). The literal name of the Itchan Kala sounds like an inner defensive circle. The walls were more than 2km long and 10m high, with semicircular towers around the perimeter, providing reliable protection for the city. A system of defensive fortifications included ditches filled with water and the upper part of

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the walls had jagged railings with narrow embrasures for firing at the enemy during a siege.

The Itchan Kala occupies an area of about 30 hectares, within which lie some 60 architectural treasures. So, closer to the Western Gate is the Kun-Ark Fortress, construction of which began in 1686. On the left side of the Western Gate is the largest Khivan madrasa, Muhammad Amin Khan (1845-1855). A little farther away is the famous Kalta Minor minaret (1845-1855), which is 29m, although it was originally planned to a height of 80m. Rising majestically near the centre of the Itchan Kala is one of Khiva’s largest madrasas – that of Muhammad Rahim Khan II (1876).

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Nearby is the famous Juma Mosque, which is supported by 213 carved columns. Not far from the Eastern Gate are the Tash Khauli Palace (1830-1838) and the Allakuli Khan madrasa (1834-1835), within which the city library was located. The 14th century Sayid Allauddin Mausoleum is located a little south of the centre. Nearby are the minaret and mosque of Islam Khodja (1908-1910), which became the symbol of Khiva, the madrasa of Shergazi Khan (1718-1726) and the mausoleum of Pakhlavan Mahmud (18th-20th centuries).

The historic buildings in the centre of Khiva are decorated with majolica in muted blues, whites and touches of brown. The patterns most often contain plant motifs, especially leaves and climbing vines. Almost everywhere you look are columns and doors decorated with carvings.

The density – typical of old eastern cities – and the frozen beauty of Khiva are almost disorienting. It seems that time has stopped within its walls. But thanks to the people living there, the city also never feels lifeless. In the last rays of the setting sun, you’ll find merchants on the streets of the ancient city cleaning their counters and artisans closing the doors of their shops. And tomorrow, visitors from different parts of the world will come again, just like a thousand years ago, when camel caravans brought people from all over the world to Khorezm.

ISLAM KHODJA: legendary Khivan leader

Text: Aisha Parpiyeva

Every now and then, we witness something impossible to forget. The minaret of Islam Khodja is one of those architectural masterpieces that leave you instantly awestruck.

In the late 19th and early 20th centuries, the Khiva Khanate was ruled by one of the most influential Grand Viziers (Prime Ministers) in its history: Seyid Islam Khodja. Islam Khodja grew up in the noble family of an Islamic clergy representative. Being the Grand Vizier of the Khiva Khanate at the time, his father, Ibragim Khodja, had access to the best education, alongside the khan’s children. Apart from Uzbek, Islam Khodja was fluent in Persian, Turkmen and Russian.

A top-notch education and political acumen resulted in swift career advancement. Khan Mukhammad Rakhim Khan II appointed Islam Khodja as governor of the town of Hazorasp at just 16 years old, and the Grand Vizier of the Khiva Khanate when he was 26.

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With Isfandiyar Khan's enthronement, after the death of the former khan Mukhammad Rakhim Khan II, Islam Khodja strengthened his political presence in the country. Isfandiyar Khan did not possess any special abilities in governing; therefore, Islam Khodja assisted him in making important decisions. The Khivan population and part of the ruling elite saw him as an enlightened, wise and fair vizier.

Islam Khodja was the innovator of his time and region. After his visits abroad, he tried to westernise the Khiva Khanate. With his efforts, he built a ginnery, the first power station in the khanate, a hospital, a pharmacy, a post office, a telegraph, and numerous schools at his own expense.

One of Islam Khodja’s most visible achievements was the construction of the tallest minaret in the Khiva Khanate.

Rising 45m high, the minaret impresses with its splendid exterior design and presents a spectacular view of Khiva from the top. The scrupulous work of the best architects and artisans of that time is instantly notable. Graceful panjar lattices, patterned majolica, a miniature dome, and a peculiar design – wide on the base and narrow at the top – give the construction a lightweight grace and sense of royal nobleness.

The Islam Khodja Minaret is a landmark of modern Khiva and attracts thousands of admiring eyes from around the globe.

Legend says that the innovative approach of Islam Khodja was disapproved of by some of the influential authorities of the time.

One night on his way home, he was assassinated in the streets of Khiva by a knife attack.

AWARDS AND HONOURS Khanate of Khiva Vaziri Akbar (Grand Vizier)

Russian Empire Knight of the Order of the White Eagle Cavalier of the Imperial Order of St. Anna, I and II degree Cavalier of the Imperial and Tsarist Order of St. Stanislaus, I and II degree Holder of the Medal “In memory of the coronation of Emperor Nicholas II”

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RONALD KLEIJER: artist of Planet Earth

Ronald Kleijer’s paintings are philosophical meditations – a spiritual search for forms that begs the rethinking of the world around us. His unique style has often been noted for the way it depicts an existing reality with a peculiar colour palette and subtlety and care for the perception of nature.

Text: Karine Bagdasarova

Ronald Kleijer was born in the Netherlands and studied drawing and painting at The Hague Royal Academy of Art. He first came to Uzbekistan in 1994 as a student, and the country made such a lasting impression on him that he decided to return to Uzbekistan full time after he earned his degree.

Kleijer was especially taken with the writings of the famous traveller Marco Polo about the friendliness and tolerance of the inhabitants of Maverannahr (an ancient name the Arabs gave to Uzbekistan and much of modern-day Central Asia). The centuries may have changed many aspects of Uzbekistan since Marco Polo’s time, but Kleijer found that the remarkable qualities of its people are still the same.

As a young artist, Kleijer gravitated toward abstract art, both during his studies and after graduation from the Royal Academy.

Admiring the great Dutch painters — Rembrandt, van Dyck, Vermeer — he sought to bring this mastery of realism to his own style of painting. After visiting and eventually moving to Uzbekistan, he became enamoured of the country’s landscapes and found that the natural world could also be depicted in a realistic yet contemporary way.

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Today, Kleijer works extensively and productively. His paintings are characterised by a noble simplicity behind which lies deep, thoughtful spirituality. He prefers to avoid theoretical discussions of painting and does not limit himself to the various "isms" of art.

Kleijer’s work synthesises his background in a European school of painting with a number of Eastern artistic traditions. He pays special attention to themes relating to the environment, such as the tragedy of the vanishing Aral Sea and the preservation of nature.

Kleijer is an active member of Uzbekistan’s art scene, holding numerous exhibitions both here and abroad. His first three solo exhibitions were held in the Netherlands, and in 1999, his works were displayed at the exhibition hall of the Royal Academy of Arts. Today, his paintings can be seen in the State Art Museum of Uzbekistan, the NBU Gallery in Tashkent, the Museum of Oriental Art in Moscow and the National Art Museum in Almaty, as well as in private collections in the United States, Britain, Germany and the Netherlands. Kleijer lives in Tashkent with his wife, Galina, who works as his promotions manager.

Discover more about Ronal Kleijer at his website www.ronaldkleijer.nl

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In October 2021, Kleijer was awarded the Order of Amir Temur medal for strengthening Uzbekistan's cultural ties with foreign countries. The award recognises the artist's contribution to building mutual cross-cultural understanding despite geographical and socio-cultural differences. A showing of Kleijer’s works dedicated to this theme was also held in Tashkent’s Ilkhom Theatre.

Ronald Kleijer is constantly looking for new forms with which to realise his ideas. Previously his work was dominated by landscapes and still life, but more recently, he has turned to portraiture and plans to create a series of 1001 paintings.

Several works have already been painted representing people of many different ages, social statuses and nationalities. Each is unique and individual but rendered with Kleijer’s characteristic features. Though each painting depicts a person and reflects that individual’s accumulated experience, viewing the portraits altogether, you realise that all of them are people. As Antoine de Saint-Exupéry said in his landmark work Land of Men, we humans all belong to Planet Earth (“nous sommes tous de la Terre des hommes”) and we are all linked by a common fate.

and follow him on Instagram @ronaldkleijer__official.

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EVENT

VISIT UZBEKISTAN

Travel photographer Julian Elliott captured the beauty of Uzbekistan on a month-long photography tour of the country.

Text: Holly Mamayusupova Photos: Feruz Rustamov

“Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… It remembers little things, long after you have forgotten everything.” – Aaron Siskind

Julian Elliott is a professional travel photographer and winner of several awards, including Landscape Photographer of the Year, International Garden Photographer of the Year: Garden Photography and others. His work can be found through photo agencies like Getty, Robert Harding, AGE Fotostock and Alamy, and his images have graced numerous magazines, commercials and advertisements.

places and beautiful landscapes of Uzbekistan that visitors might not have seen before.

On 22 August, at the end of his trip, Elliott presented a photography masterclass at Tashkent’s Bonum Factum art gallery. An audience of talented photographers and beginners alike learned tips and tricks and were treated to a slideshow of Elliott’s beautiful work. The class was divided into four main parts: People, Architecture, Monetising Your Work and a Q&A session. In each part, Elliott presented the best pictures that he’d chosen from amongst thousands that he had shot.

In August 2021, Julian took a 25-day journey through all the regions of Uzbekistan, photographing historical sites, cities, national cuisine and natural landscapes as he went. Elliott’s work is to be incorporated into a joint project between the photographer and Dinara&Co Publishing House to show Uzbekistan from a new perspective, with an emphasis on unexplored places. Through his own lens, Elliott has endeavoured to show the beauty of the country, its traditions and values to the world in the most vivid colours.

The class opened with an introduction to the technical aspects of camera usage, like settings and the importance of light. Elliott emphasised that light can either make the image perfect or ruin it. He also talked a lot about the importance of timing.

Elliott’s visit to Uzbekistan included almost every region of the country. He was accompanied by a local photography team, who helped him discover the most unsung historical

“You should catch that exact moment of the day when the scenario perfectly works on the spot where you planning to take a picture,” he advised.

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During the ‘People’ portion of the class, Julian recounted the importance of respecting the privacy and feelings of the people he photographs. He said he always politely asks to take a picture of an individual, and after gaining permission, he tries to make a real connection with the person so that they feel free to express their true nature and feelings on camera.

Some of Elliott’s most breathtaking ‘People’ photographs were those shot in Moynaq, Karakalpakstan. Particularly poignant were the images of kids playing around the ships in the desert, a place where years ago you could drown in the Aral Sea. These were particularly salient, full of childhood emotion, friendship and nostalgia, but also captured the ecological disaster that continues in the Aral Sea region. Julian Elliott’s journey brought to the audience a unique perspective on travel photography and Uzbekistan. His forthcoming photography book, 100 Experiences of Uzbekistan, is set to release in late 2021.

Learn more at julianelliottphotography.com and follow him on Instagram @julian_elliott_photography.

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CULTURE

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Dance of Sun, Dance of Life Text: Guzal Khamida Kamol | Photos: Mukhiddin A Lee

Lazgi is called a divine melody. When divine music is played, the human body wants to move and dance on its own. There is divine soulfulness in lazgi, there is love, joy, enthusiasm and courage in lazgi.

The second name of lazgi means life.

Developed for two millennia in Khorezm and now a beloved tradition across Uzbekistan, lazgi (sometimes spelled lyazgi) is a form of dance that is joyous and fiery. In December 2019 2019,, lazgi was officially inscribed on UNESCO’s list of Intangible Cultural Heritage. According to UNESCO, “​​The movements of lazgi encapsulate human creativity by reflecting the sounds and phenomena of surrounding nature, feelings of love and happiness.”

The origin of lazgi dates is believed to date back several thousand years, and its music and dances tell folk tales of love and life. In various centuries Central Asia, including Khorezm, was conquered by invaders: the ancient Persians, Greeks, Arabs, Mongols and Russians. Despite this, the Khorezmian lazgi was such a deeply ingrained part of the local culture that it withstood centuries of outside influence and changing powers.

Lazgi is full of legend and myth, mostly about the origins of the universe and humanity. Ancient Greek historian Herodotus focused his writings on the melody of lazgi music and the religious rites associated with it. He wrote that the Saka (Sak-Massaget) tribes who lived in Central Asia and the Khorezm region celebrated sunrise with these rituals.

Before Islam entered Central Asia, the local population largely adhered to Zoroastrianism religion, which considers the four elements of earth, water, air and fire as sacred. These elements are kept as pure and uncontaminated as possible.

Lazgi was performed mainly in temples, around bonfires, to welcome the rising sun. After Islam spread across Central Asia, Zoroastrianism declined, but many Zoroastrian rituals survived in everyday tasks and cultural systems.

Including lazgi.

The music and dance of lazgi has such mysterious powers that it awakens in people a desire to live and enjoy life.

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Lazgi music begins with a peaceful melody, building in slow and pleasant tones. It sounds like the sun rising over the horizon and slowly waking the world up with its light and warm rays. The rhythm of the music quickens as Mother Nature, who loves the warmth and light of the sun, smiles, sings and dances to express her love. Once the sun has risen, the joy of the Earth pours out, flowers move towards the sunlight, butterflies and bees buzz from flower to flower, birds chirp and rainbows glisten in fountain waters. And then, when the sun sets below the horizon once again, the world rests in the darkness of night.

Lazgi is distinguished by its special shaking, snapping and jumping movements – the word ‘lazgi’ itself means

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‘shiver’ or ‘tremble’. Dancers also often use kairok, or stone castanets, to create rhythmic clicking as they move. The movements are said to reflect the love between the sun and the Earth. Dancers greet the first rays of daylight by raising their hands to the sky. Fingers first, then palms, wrists, shoulders and chest, slowly undulating, twisting and shaking, as if awakening as the sun's rays warm the body. A smile of joy appears on the dancer's face and the movements become more joyous.

The fact that the art of lazgi has survived for millennia speaks to its importance and cultural power. Within its vibrant movements and bright sounds is the rich experience of Khorezmian life.

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ADVERTORIAL

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Text: Durdona Shavkatova | Photos: Feruz Rustamov

The art of puppetry is a long-held tradition in many parts of the world and has a rich history in Uzbekistan.

In the Middle Ages, people staged puppet shows in crowded squares, markets and festivals.

Behind a curtain covering a simple outdoor stage, small scenes were hidden depicting the lives of ordinary people, rich and poor, as well as loyalty, friendship and betrayal.

The tradition of puppetry in Uzbekistan goes back to the 6th4th centuries BC, during the Achaemenid Empire. However, the art of puppetry became popular only in the 14th century, under the rule of Amir Timur and the Timurid dynasty.

Particularly popular were dolls on strings and glove puppets.

The State Puppet Theatre of Khorezm occupies a special place among modern puppet theatres in Uzbekistan. It is recognised as the only puppet theatre in Uzbekistan that takes its visitors back into history and allows them to feel the atmosphere of a medieval market. The scenery, puppets, stories and manner of play utilised are the same as those that fascinated audiences centuries ago. That is why the Khiva Puppet Theatre is very popular among international visitors.

The emergence of puppet theatre in Khorezm dates back more than 2000 years to the Zoroastrian period. Theatrical puppet shows were not just a form of entertainment; they also propagated religious ideologies.

The theatre is located in the Ichan Kala, Khiva’s historic old town. Its repertoire includes 60 different performances of folklore and children's programmes, the most popular of which are Khiva's lazgi dance and khon kabuli (royal reception). The protagonist of many of the plays is the folk hero Khoja Nasreddin, who is portrayed as a witty trickster who fights the evils of humanity.

According to Euronews correspondent Seamus Kearney, it is easy for anyone visiting Khiva “to feel love for the puppets, which are based on the ancient traditions of the city's ancestors and which decorate the life of the city through theatrical performances.”

Kearney says such performances help pass on local customs and traditions to the younger generation.

Every year, the State Puppet Theatre of Khorezm participates in a number of national and international festivals. In 2011, it participated in the First National Puppet Theatre Festival in Baku with the play “Khiva's Lazgi”. In September 2013, the theatre took an active part in competitions in Darmstadt and Frankfurt, Germany.

One of Khiva's most renowned puppeteers is Mansur Kuryazov. In 1993, he established the Khorezm Regional Puppet Theatre under the leadership of D. Atabayev. He set up his own workshop and studio called Jaihun. Puppets make wonderful, handcrafted souvenirs that help support local artists while also keeping an ancient art form alive. Khiva Market is a good place to shop for ‘glove puppets’; dressed in national style, these are a vibrant symbol of the folkloric interpretations and customs of ancient Uzbekistan.

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Clothing as Culture

Text: Karomat Gaffarova Photos: Feruz Rustamov

Khorezm is one of the most ancient regions of Uzbekistan. It differs from the other regions not only in its language and customs but also in the variety of clothing styles and costumes.

A region’s history, culture, traditions and customs are revealed through the way people dress. To get a glimpse into the soul of the people of beautiful Khorezm, we decided to learn about their national costumes from Urgench native, Dinara Rakhimova.

"Our national dress clearly differs from the clothes of other regions of Uzbekistan," says Dinara.

The costumes of the Khorezmis differ in the originality of jewellery and headdresses, which have preserved the ancient features, colours and specific adornments. Girls’ costumes are the brightest and most beautiful. A women’s outfit consists of a silk shirt-dress (guynak), trousers (ishtan), outer clothing and capes (elak, misak, chapan, nimcha), headdresses (takhya, lachek and chigirma), and footwear (massi and kavush). Men's Khorezmian clothing consists of a headdress, shirt, shawl or scarf (belbok), trousers, cloak and boots. Clothes are mainly of cotton, silk and velvet fabrics. Men usually wear a long shirt

(kushak) of straight-cut cotton cloth with a gown on top. A belbag, or waist scarf, is used as a belt.

Dinara points out that, in general, the clothing style of Khorezm is more restrained than in other parts of Uzbekistan.

One of the most iconic elements of the Khorezmian costume is the chugurma, a headdress made of sheepskin. Though historically worn by men, the chugurma is now fashionable for people of all genders, especially during holidays. In ancient times, special attention was paid to the quality and practicality

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of the headdress, as it was often a necessary accessory when travelling long distances through the desert or steppe, where the weather and climate demanded versatile and high-quality headwear. In winter, it provides protection from freezing temperatures, and in summer it keeps off the sun. Because it is so practical, the chugurma is a staple part of the dress of Khorezm and in many other regions. Chugurma makers are still an important professional occupation Khorezm today – you can visit chugurma masters in the Itchan Kala and see how these intricate accessories are made.

The traditional headdress for women is a skullcap decorated with a feather and an abundance of small bells and charms that ring with every step. Khorezm women are also very fond of bracelets and long (up to the waist) loose ornaments (more like beads), which also jingle. Fringes, feathers and other jewellery are peculiar adornments on Khorezmian women’s clothing. “Feathers were added to skullcaps as amulets that signified that a girl was entering the age of marriage,” says Dinara.

The characteristics of clothing are determined by age, social status of people, sorrowful or joyful events, economic cycles and natural conditions. Clothing not only protects against climatic changes, but also helps an individual or culture to express itself. The traditional dress of Khorezm is a truly diverse form of expression unique to this incredible region.

Revival of the silk industry in Uzbekistan Text: Sabina Odinayeva

The development of silk cultivation in Uzbekistan has deep roots. According to some historical data, the practice of silkworm cultivation and silk spinning existed 4000 years ago in southern Uzbekistan, in the Fergana Valley and also at the source of the Zeravshan River.

The history of Uzbek silk dates back to the second millennium BCE, to the time of the famous Great Silk Road, which connected the West and the East. According to legend, one of the rulers of the Fergana Valley became interested in silk products from China, and then he decided to produce silk at home and ordered his subordinates to unlock the secrets of making silk. And so began the production of silk.

To this day, a variety of silk products are made in Uzbekistan: fabrics, carpets, clothing, headdresses and much more.

Uzbekistan's rich tradition of silk production, its climate, high population density and abundance of labour in the countryside make silk cultivation a promising industry for investment.

Kashkadarya and Surkhandarya Silk Tour The Uzbekipaksanoat Association invited the Visit Uzbekistan team on a press tour to the Kashkadarya and Surkhandarya regions on 11-13 November, where we learned about the fascinating process of silk production and saw the results of ongoing reforms to Uzbekistan’s silk industry. The association’s main objective is to improve the production and processing of mulberry silkworm cocoons and the production of silk fabrics.

It all starts with the care of the small larvae. In Surkhandarya, we visited Huashen Silkworm Pro, a Chinese-Uzbek joint venture where more than 40,000 mulberry silkworm larvae are reared, providing a silk base for the entire Surkhandarya region. Specialist Shen Haozhong, who was invited from China to train Uzbek silk workers, introduced us to the silkworm-rearing process.

The larvae require special conditions — they are kept in a temperature-controlled room and their development is monitored daily. The small silkworm embryos are light yellow or milky in colour. During the growing season, a silkworm larva goes through four stages of maturation. After four moults (skin regeneration), a caterpillar body increases in size

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by more than thirty times and its body takes on a yellowish tint. In total, the silkworm caterpillar grows and develops for about a month and, just before pupation, loses all interest in food.

There is a continuous buzz in the silkworm growing room as thousands of caterpillars chew on leaves. Under its lower lip, the insect has special glands that can produce a jelly-like silk substance, which hardens into a fine silk thread. When the time comes, the caterpillar fixes its body on a sturdy base and begins to form a mesh framework around itself, and then weaves the cocoon by winding the thread around itself in a 'figure of eight'. In three to four days, the cocoon is completely ready. The thread in a finished cocoon can range from 300m to 1.5km.

After eight or nine days, the cocoons are harvested, sorted by colour and size, and prepared for subsequent unwinding by dipping them into boiling water. This process is carried out by special machines. The finished threads are distributed for export and further production of silk products.

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HERITAGE

Uniquely Uzbek Silk Silk has been a source of hard currency for centuries. Silk production is a labour-intensive industry and today provides jobs for thousands of households in rural areas. Uzbekistan produces exceptionally natural silk: it is soft, pleasant to touch, gently adheres to the body and flows beautifully. It is renowned for its high durability, breathability (good for hot climates), lightness and hypoallergenicity, as the fabrics are dyed exclusively with natural dyes.

In recent years, Uzbekistan has developed efficient methods for growing silkworms. Whereas it was once only possible to produce a single batch of silk fibre each year, it is now possible to produce four batches of silk thread regardless of the season. Material that used to go to waste is now being recycled; for example, leftover filaments are used to make silk wool, which is practically the same price as silk threads. And the larvae can be used as livestock feed.

Another important feature of silk production in Uzbekistan is the existence of a complete supply chain from mulberry larvae to finished fabrics. Carpet mills and fabric and garment factories create the finished products, which are distributed to retail outlets and are in great demand among locals and tourists alike.

Today Uzbekistan is the third largest silk producer in the world after China and India. The main objective of the Uzbekipaksanoat Association is to help Uzbekistan become a world leader in this production.

VISIT UZBEKISTAN

Natural or artificial silk?

Simply pull out a few strands of silk and light them on fire. Natural silk will not burn, but there will be a slight smell of burnt hair.

From a shopper “I am a doctor and my work took me to the city of Termez in Surkhandarya region. Your fabrics are something special and so beautiful! This silk shop is my favourite place in town! Every pattern means something and definitely lifts one's spirits.”

– Filiz Erdogan Maraslioglu

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Love Your City!

EUROPEAN MOBILITY WEEK IN UZBEKISTAN Urban mobility is one of the biggest environmental and social challenges we face. Transport is responsible for around a quarter (24%) of global CO2 emissions. Our choices about how to travel impact urban sustainability and air quality. We must change our priorities and look toward pedestrianisation and low-carbon transportation sources. Holly Mamayusupova looks at the important role that European Mobility Week plays in ensuring a greener future for Uzbekistan.

The European Commission’s main annual awareness campaign, European Mobility Week (EMW) is held from 16- 22 September. The campaign finishes with Car-Free Day, where drivers are encouraged to use alternative modes of transportation for the day. Mobility Week aims to promote clean, safe, efficient, affordable and low-emission urban transport options across Europe and beyond.

Though Uzbekistan is not a European country, it actively participates in the EMW global campaign, and this year joined EMW for the third time. This is a very important step towards greater sustainability and cleaner urban mobility in Uzbekistan. In 2021, the theme of EMW is “Love Your City!

Move Sustainably! Stay Healthy!” And surely to love one’s city means to take care of its environment and keep it clean and healthy.

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Uzbekistan’s capital, Tashkent, is home to more than 2.5 million people. As a densely populated city, Tashkent needs to be organised in developing infrastructure, not only for drivers, but also for pedestrians and cyclists.

This year, the art exhibition “I Love My City: Artistic Visions of Sustainable Urban Mobility” perfectly summed up this message. Held at Tashkent’s Mirzo Ulugbek Central Park, the exhibition featured artwork specially created for the launch of European Mobility Week. Five acclaimed Uzbek artists and designers – Rushana Alimova, Lilia Ashrapova, Aisha Imamturaeva, Dilorom Mamedova and Azukar Moreno – applied their artistic visions to bicycles, turning the bikes into pieces of sculpture. Using colours, patterns and details, the sculptures portrayed the ideas and feelings of artists. Each artist put great effort and ingenuity into the creation of their bicycle design, and proved that almost anything can become a work of art, even a mode of transportation.

The week culminated in the popular Car-Free Day and Night Cycling Festival. World Car-Free Day is the most important part of the campaign, as it helps to raise awareness about air pollution while promoting other modes of transport, such as cycling. For one day, people are encouraged to avoid using personal cars and to instead choose cycling, walking or public transport instead.

Everyone is able to make difference in the climate crisis by starting with transport choices. By reducing traffic congestion and decreasing the use of private vehicles while at the same time increasing urban space for walking and cycling, we can contribute to a greener, healthier future for Uzbek society and our natural environment.

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EMPIRES OF SILK BOOK LAUNCH Text: Innessa Anokhina | Photos: Feruz Rustamov The era of the Great Silk Road was a significant time in the history of Central Asia. Linking China with Europe, the ancient trade route carried goods and gold, but more importantly, ideas, knowledge, culture and beliefs. This had a profound impact on the history and civilisations of peoples and cultures across Eurasia.

The Silk Road was a two-way street. Silk went westward to the Roman Empire, while wool, gold and silver travelled east to China. The territory that is now modern Uzbekistan stood at the crossroads of this great trade route. Not only did Uzbekistan operate as a distributor of silk products from China, it was also home to its own master silkmakers and held a long tradition of silk creation. The centre of Uzbek silk-making was the village of Zandana near Bukhara.

Born out of Uzbekistan’s long and rich history of silk is a new historical novel: Empires of Silk. The book closely interweaves scenes from the past — military battles, political conspiracies in the time of the early Common Era — with romantic storylines full of well-crafted, emotional main characters.

The author, Akbar Khakimov, is the Head of the Department of Fine and Applied Arts at Uzbekistan’s Institute of Art Studies of the Academy of Sciences. He is also Academician at the Academy of Sciences and the Academy of Arts of Uzbekistan, and a professor of History (Doctor of Art History, Honorary Doctor) at Soka University in Tokyo. It was his deep knowledge of Central Asia’s history and cultural heritage that enabled him to create a sweeping historical novel that follows of the lives of people linked to the fate of the Silk Road.

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“I hope my first novel will inspire readers and allow them to rediscover our great heritage,” said Mr. Khakimov.

Adding to the book’s uniqueness are its hand-painted illustrations by abstract artist Sanjar Jabbarov. The illustrations complement the story, creating a space for readers to imagine the scenes within. Jabbarov said that the idea of the novel and its characters gave him “the creative impetus to create a series of paintings, drawings and hand-painted china plates.”

The book launch was held on 3 November 2021 at Hampton by Hilton in Tashkent.

The event was themed as a caravan route along which masters of applied arts and artisans presented their products.

Among the were the Rakhimov ceramics dynasty, Rasuljon Mirzaakhmedov from Margilan, who carries on family traditions of silk production, the Khujum silk carpet factory in Samarkand, Uzbek designer Dilnoz Erkinova, Uzumfermer family winery and Amirim, a new confectioner that makes

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halva. Event partner Begim presented its Silk Road Treasures fragrance collection, which is dedicated to the history and culture of the Great Silk Road. The event also featured traditional Uzbek music by the Sato band, led by master tanbur player, Toir Askar.

The book was published by Dinara&Co Publishing House in Istanbul, Turkey, by Mega Basim, using the latest technology, modern printing materials, Japanese puffed paper and hand binding.

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“For us, a book is a work of art. We tried to turn Empires of Silk into an art object that will be kept in every library and inspire whoever touches it,” said Dinara & Co’s founder, Dinara Dultaeva.

VISIT UZBEKISTAN

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.

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MINIATURE ART AT AUTOGRAPH ART GALLERY Although the miniature art form has been around for centuries, it continues to evolve, becoming a bridge between the past and the present.

The miniature is a type of secular fine art consisting of small pictorial drawings or paintings that became widespread in Central Asia as illustrations in medieval manuscript books. It was an important element of decorative design, along with ornamental decoration of pages and binding.

The technique of miniature painting is complex, requiring a keen eye, a steady hand and extraordinary patience. Finesse of writing, decoration and interpretation of the subject within the framework of established canons were valued above all. Nowadays, miniature painters often turn to these subjects, which have become classics.

Miniature painting has been reborn from pure manuscript illustration into a new type of decorative applied art, a consolidation of centuries of style traditions. Using the stylistics of classical miniatures, masters began to ornament traditional household items. They decorated vases, dishes and kitchen vessels, created lacquer and leather panels or pictorial paintings and adorned everything from tambourines to pumpkins. The miniature has become a form of ‘living heritage’ – a tradition from the past that has found a new life. At AUTOGRAPH art gallery, miniature painting is shown on a variety of media, including paper, leather, wood, fabric, canvas, and even papier-mache.

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Come, stay and enjoy your day!

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