CC BY
4Ученый XXI века • 2016 • № 12 (25)
UDC 39(4/9)
GOLD EMBROIDERY OF BUKHARA
Z.O. Qoryog'diyev1
Abstract
This memoir about the splendid form of ancient decorative art of the gifted Uzbek gold embroiderers.
Keywords: Gold embroidery, masters, art, decorative weaving, creative team-work, museums, artistic value.
Bukhara gold embroidery is a miracle of art which holds a particular place among the numerous forms of art in Uzbekistan: delicate carving and painting on ganch and wood, tile-facing of monumental edifices, skillfully-worked metal and leather, carpets and decorative fabrics, and ceramics of consummate mastery.
From time immemorial things that make life more beautiful have brought joy to people. The aesthetic value of embroidery in gold has always been greater than the age-long and pitiful value of the materials used, although it is primarily their prise that converts the articles into a national treasure. The skill of the master who created things of aesthetic and material value is retained in them forever [1]. That is why the significance of perfectly made articles of this kind is intransient.
Gold embroidery in Bukhara has a style of its own, and its best specimens came into being where the great masters found patterns which were logic in composition, figurative in needlework and masterly performed.
Works of art of this kind stand out and create a school of popular applied art—a school which all creators of things of beauty have striven to compete whith and which should be an example for them in future [2].
Despite the antiquity of gold embroidery in Bukhara, nearly all the specimens found are believed to date from XIX and early XX centuries. No earlier articles have been found to date. There are no more than about one thousand specimens of Bukhara gold embroidery in Uzbekistan museums, while the number of oriental robes of the XIX and early XX centuries which are of particular artistic value, does not exceed 300.
All these collections are of great artistic value. The finest works of this rare form of decorative-applied art are the outcome of laborious work, gift and taste for art on the part of many generations of gold-embroiderers.
Historical literature and finds of archeologists testify to the fact that embroidery in gold was known to the inhabitants of rural areas of Central Asia in ancient times. The old masters still remind us of a legend which has it that gold embroidery was known before silk: first it was done on leather, karbos and wool, later - on silk and velvet.
Sources, elucidating the conquest of Sogd by Arabs, note the abundance of gold embroidery on the garments of the war elite in Sogd as for back as the VIII century [3]. In the X-XVI centuries numerous historical data such as written sourses and miniatures testify to the great progress reached in decorative weaving [4] and gold embroidery in Samarkand, Bukhara and Heart. By the XVII century gold embroidery was done on an organized basis. The historian Melikho imparted that there was a whole block of houses with gold embroiderer in Samarkand.
In later times this form of art in Uzbekistan was continuously connected whith Bukhara which became the capital of the Sheibanids as far back as XVI century.
Bukhara was inhabited by splendid popular masters of ganch-carving and metal-chasing, famous jewelers, ceramists, book-binders and illustrators. The hand-made works of art, created by the artisans, were taken to the towns and cities of the Middle East and Europe. Bukhara became the adobe of many popular masters who erected amazing architectural monuments thanks to which Bukhara is right-fully called a museum-town of national architecture.
1Корёгдиев Зуфар Охунжонович - ассистент кафедры гуманитарных дисциплин, Бухарский филиал Ташкентского института ирригации и мелиорации. Узбекистан.
Исторические науки
The creative team-work of professional artists and masters of ambroidery in gold has led to a new decorative trend in Bukhara gold-embroidery as to form and purpose, which is reflected "stately-form" pieces whith a massive arrangement-unique multimetre thematic and decorative panels. Many of them have become part of the most valuable collections decorative-applied art, and are national property. They adorn the expositions of national museums, and are a success at all exhibitions and reviews of items of this kind. Some of them are in the custody of museums in India, Indonesia, China and Sri Lanka.
In recent years they have created beautiful designs for skull-caps, and embroidered vests, girdles and fancy-bags.
The latest achievements in science and technology have brought new materials to life. All this sets one thinking and creating in a new way.
A difficult but lofty task has been set before the gold-embroiderers of Bukhara today - to retain the rare and precious beauty of their art so that many generations of descendants would be able to revel in the creations of man.
References
1. G.A. Pugachenkova, L.I. Rempel - Outstanding memorial representing arts of Uzbekistan. Tashkent,1960.p-172
2. L.I. Rempel, V.S. Zatvornitskaya - People's art of Bukhara and Samarkand. T., 1940
3. O.I. Smirnova - Essays from history of Sogd. M., 1970
4. Narshakhi - History of Bukhara, trans. N.Likoshin. T., 1897
© Z.O. Qoryog'diyev, 2016
УДК 39(4/9)
ЗОЛОТОШВЕЙНОЕ РЕМЕСЛО БУХАРЫ
З.О. Корёгдиев
Аннотация: Это статья о великолепной форме древнего декоративно-прикладного искусства одаренных узбекских золотошвеев.
Ключевые слова: золотая вышивка, мастера, художественные, декоративные ткачество, творческая работа в команде, музеи, художественную ценность.
© З.О. Корёгдиев, 2016
