Volume 04 Issue 07-2024
18
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
07
P
AGES
:
18-21
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
This article describes the history of Khorezm pottery and its uniqueness, production raw materials.
KEYWORDS
Raw materials, pottery, master, angob, S.P. Tolstov, V.V. Bartold.
INTRODUCTION
The main tool in pottery is the wheel. A potter's wheel
consists of two wooden wheels, a large one and a small
one, interconnected by a wooden axle. The big wheel
below is turned by foot. Clay is placed on top of the
wheel. The wheel spins smoothly. The craftsman
makes different shapes out of clay with his hands. After
the shape of the container is ready, they are dried. In
order for the pottery to be strong and smooth, it is
washed in clay (angob) in a liquid made of fire-resistant
white and reddish earth. Then it is dried again in the
shade. If more white angobe and less cobalt are used
in the decoration of objects, then bright colors will
dominate them. Pattern decoration is of special
importance in Khorezm pottery. The essence of
ceramic works is mainly revealed by their shape and
decorative elements.
Drawing a pattern usually starts from the center of
the dish and ends at the edge. What the elements of
the patterns consist of and how they are expressed
depends on each potter's knowledge and ability. Some
masters used more small and complex patterns. Some
of them liked to draw object shapes and plant-like
Research Article
POTTERY RAW MATERIALS AND PROCESSING METHODS
Submission Date:
July 05, 2024,
Accepted Date:
July 10, 2024,
Published Date:
July 15, 2024
Crossref doi
https://doi.org/10.37547/ajps/Volume04Issue07-04
Allayarov Nuraddin
Student of Urgench innovation university, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 07-2024
19
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
07
P
AGES
:
18-21
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
decorations. It takes more work to draw small and
complex patterns. Among the artistic ceramics of the
end of the 19th century and the beginning of the 20th
century, mainly less complex pattern decorations
occupy the main place. The patterns are very thin,
elegant and consist of short lines. Also, the
composition of the patterns is found very skillfully and
they are placed very proportionally to each other.[1]
LITERATURE REVIEW
Khiva and Kattabog pottery is one of the less studied
subjects. The scientific study of the history of Khorezm
crafts began in the second half of the 19th century.
After conquering Central Asia, Czarist Russia began to
study the history, culture, and natural possibilities of
Central Asia for various purposes.
During the Soviet period, in 1920-1950, V. V. Bartold,
S.P. Tolstov, Weimarn, Denike, Y. Gulomov studied the
history, archeology, ethnography and architecture of
Khorezm. Although this topic is not specifically studied
in the works of these authors, important information is
found that serves to reveal the topic. Here is S.P.
Tolstov. It is necessary to highlight the services of
Khorezm archeology and ethnography expedition led
by The materials of the expedition and the works of
Tolstov provide valuable information about the ancient
period of Khorezm applied art.
RESULTS
Thin line patterns include the image of objects such as
"knife", "gun", "comb", "dutor", patterns typical of the
animal world such as "snake", "snake", "fish" and
geometric ornaments such as circle, triangle,
semicircle. can be an example. In particular, the
"snake" pattern is expressed in the lines of the plate
with thin lines. The centerpieces of the dishes were
also made of grid patterns with more delicate lines.
They use three different colors: white, black, green,
and blue. Kattabog village has long been considered
one of the centers of pottery. At the beginning of the
20th century, there were 26 pottery workshops in this
village, where more than 200 potters worked. In the
past, they were mainly engaged in making tiles, dishes
and various ceramics for Khiva palaces, madrasas,
minarets and mausoleums.[2].
One of the important aspects of the traditional artistic
ceramics of Khorezm at the end of the 19th century is
that the items of this period are distinguished by the
extremely delicate and elegant decoration and the
extremely precise proportions characteristic of the
architectural style. Comparing the national traditional
ceramics of Khorezm at the end of the 19th century
with the local ceramics of the beginning of the 20th
century, it can be seen that there is a significant
difference between them. For example, 19th century
pottery designs are represented by small, very thin
lines, while 20th century decorative lines are depicted
in thin and thick lines. In addition, the 19th century
Volume 04 Issue 07-2024
20
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
07
P
AGES
:
18-21
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
Khorezm artistic ceramics often featured household
items, animal world, and geometric designs. The
traditional Khorezm ceramic works of the beginning of
the 20th century consisted of more vegetal, geometric
and
architectural
patterns.
According
to
NNVakturskaya, "...as a result of the formation of the
new Islamic religion in Central Asia, including Khorezm,
abstract painting appears in the art of Central Asia. This
was reflected in the production of Khorezm ceramics.
Abstract vegetal and geometric motifs, as well as
Arabic words in Kufic script, are widely used as
decoration in Central Asian painting.[3]
New directions and styles are constantly developing in
pottery. In the 60s of the 19th century, there were 15
pottery workshops in Kattabog, which were made with
alkali at that time. 70% of the population of Kattabog
was engaged in pottery. At that time there was a
special market for pottery. It sells firewood, firewood,
and ash of the firewood plant. Healthy, black, bluish,
red clay soils are used in pottery. There are several
types of clay: clay vase (sershira clay) - has elastic
properties (stretchable, flexible); porcelain clay (white
clay) is semi-faience, made by adding dark clay and
alkali; tile clay - different types of tiles are prepared by
adding karvak sand to the clay; feather clay for making
a tandoor - this clay is made by mixing reed pulp with
healthy soil. At first, pottery was made by hand, and
later (5-6 thousand years ago) the pottery machine was
invented. In pottery, shamad, gilvata, paints, angob,
charkh, brush, trowel, wire, pattern mold, labgir, lagan
mold, pargor, tile, comb, tuppa and other tools are
used. Clay is divided into types depending on its
properties and the object used: Before starting work,
the potter must find a suitable soil for the clay, because
not just any soil can be used to make an object. The
potters of Rishton, Samarkand, and Karshi used soils
from special mountain gorges. As a result of many
years of observation, the masters of Khorezm knew
where to get fine clay. Khiva potters took clay from
Gandimyon, Govuk, Pishkanak villages in the outskirts
of the city, because the soil of these places was fertile
and fertile. The clay is kept in the room for 20 days with
water and covered with a damp cloth. To keep the clay
from breaking, a feather is added. Once the clay is
moderate, it is thoroughly baked by hand. If air remains
in the clay, the container may have holes. The potter
spins the wheel with his foot on the big wheel below,
putting clay on the wheel above and making a pot from
it. Ready dishes are thoroughly dried. Dried dishes are
cooked in khumbuz. Then the clay is molded into a
certain shape on the pottery wheel. After the vessel
was prepared, a pattern was drawn by hand, it was
glazed, dried in the sun, and heated in an oven. The
potters made the secret themselves. Potters from
Khorezm went to Karakum on hot summer days to
collect chagan, burned it, brought the ash to the
workshop and added it to crushed glass flour. In
addition to this plant, a black scythe was used. In
September, when the black scythe was full of sap, they
Volume 04 Issue 07-2024
21
American Journal Of Philological Sciences
(ISSN
–
2771-2273)
VOLUME
04
ISSUE
07
P
AGES
:
18-21
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
burned it in its green state and prepared alkali from its
ashes. The khumbuz is heated to a high level, as a result
of which it turns into stone, then the khumbuz is placed
on racks for a second time, it begins to flow slowly due
to the high heat, and it is ready when it turns white. The
resulting alkali is made into flour in a mill.A slurry of
fresh wheat flour is cooked and mixed in a pot. Water
is poured into the pot, mixed and turned into a liquid.
The resulting raw material is said to be an alkaline
solution.[4]
CONCLUSION
In the 19th-20th century Khorezm artistic pottery, dried
flower molds made from naturally growing wild plant
(jintarak) flowers were widely used. It is considered a
bad-smelling plant that grows in the fields and cotton
fields, and its flower does not require any treatment.
Nature itself has created a ready-made mold. It is a
beautiful flower with a round shape, teeth and a
hollow in the middle with a net between the teeth.
When this flower is dipped in paint and pressed onto
the surface of the vessel, its shape resembles the
symbolic appearance of the sun depicted in books. And
the comb-like teeth that go up from the central groove
of the flower give a shape similar to the rays of the sun
when printed. The size of the flower mold shape will
not be larger than the largest button.Such floral prints
were mainly used for embroidering the inner and outer
parts of bodices and hips, sometimes the central parts.
REFERENCES
1.
O.A. Khojaniyozova. 19th-20th century Khorezm
folk artistic carving and pottery.//candidacy
dissertation. T. 1995. 138 p.
2.
K. Nurjonov, N. Jumaniyozova "History of Yangiarik
district", "Khorazm" publishing house - 2011.
3.
O.A. Khojaniyozova. 19th-20th century Khorezm
folk artistic carving and pottery.//candidacy
dissertation. T. 1995. 138 p
4.
Bobojonov D., Abdullaev M. Khorezm masters of
applied arts. Khiva: "Khorazm Ma'mun Academy
Publishing House", 2010. 13 p.
