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SHABAKHA AS AN ELEMENT OF ARCHITECTURAL DECORATION
M.T.Gaipova
National Institute of art and design named
after Kamoliddin Behzod
senior teacher of the "History and
Theory of Art" department
https://doi.org/10.5281/zenodo.15088706
Annotation
The origin of wood carving, the dynamics of its management, the
uniqueness of wood carving decorations and techniques, and the use of grids in
architecture were covered. The combination of architectural and wood carving
was continued after this event.
Key words:
Grid, fence, architecture, column, door, pattern, decoration,
bookshelves.
Annotatsiya
Yog‘och о‘ymakorlikning kelib chiqishi, uning rivojlanish dinamikasi,
yog‘och о‘ymakorligi bezaklari va ularning о‘ziga xosligi, texnikasi me’morlikda
shabaqaning qо‘llanilishi haqida yoritildi. Me’moriy va yog‘och о‘ymakorligini
uyg‘unlashtirishdagi bu holatlar keyin ham davom ettirildi.
Kalit sо‘zlar:
Shabaqa, panjara, me’morlik, ustun, eshik, naqsh, bezak, kitob
jovonlari.
Grilles are the most common element in the exterior and interior
decoration of Tashkent monuments. Barak Khan madrasa, Sheikh Zainiddin,
Sheikh Khavandi Tohur mausoleums windows are excellent examples of carved
grihirs - pattern art. These buildings were renovated several times in the 19th
century, the beginning and the middle of the 20th century, and now they are
under state protection
1
.
From time immemorial, the nets perform the function of ventilation,
lighting and encirclement of the room, as well as decoration. They were made of
wood, granite, stone, marble, and later various metals. In stone, marble and
ganch carving, the engraving method was used, on the other hand, in wood
carving, bars were made of small wooden elements made without nails and with
nails, and in rare cases, the carving form was used.
It is known that the general color of the constructed building is solved in a
cool gamma, especially on hot days. The blue-blue color in the architectural
solution is in competition with the ocher - earth color, which reminds of the
rivers and streams that break through the heart of the desert, bringing with it
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the mountain breeze, and gives a person peace and tranquility. Effective use of
color in such an architectural solution is a wonderful and unique achievement of
the traditions of Central Asian urban planning. That is why the general artistic
environment in the cities of Khiva and Bukhara, Samarkand and Tashkent is an
architectural composition rich in forms and its coloristic color system. This
system gives people a spirit of peace, tranquility and gratitude.
It is also worth noting that in the wood carving of Tashkent, as in the
architecture of Samarkand, Khiva, Bukhara, building materials were used
effectively and efficiently not only as simple materials, but also as decorative
elements of the building. The harmonious use of materials such as brick, wood,
stone, granite and marble in the constructions of these periods added an
irreplaceable charm to every building.
These cases of combining architecture and wood carving found their
development in the art of the following centuries. The traditions of the
architectural solution and the art of architectural decoration, which were
formed in the architecture of the Middle Ages and had a clear appearance, were
continued in the monuments built in the XVIII-XIX centuries in Tashkent.
The doors, windows and fences, sermon pulpits, and other equipment made
in accordance with the traditions of the Tashkent school are samples that testify
to the high potential of this school. In this regard, the decoration of Ibrahimota's
mausoleum in Karasaray, especially the examples of wood carving, are
particularly noteworthy. The front of the monument located in the cemetery of
the same name is marked with an arched porch. Inside, there are four trenches
on four sides - shallow on the west and east walls, and deeper on the north and
south.
The light comes from the elegant bars above the door and on the west side.
Neither inside nor outside the building is decorated with bars. From the door on
the west side of the mausoleum, you can go down to the chillakhana through the
stairs. The proportions of the mausoleum of Father Ibrahim. and has a unique
artistic value with its elegant bars.
The architectural solution of the above-mentioned mosques, mausoleums
and madrasas and their decoration were in harmony with the styles that
prevailed in Central Asia at that time. Here, too, one can see the similarity in the
decorative solution of the building with the architectural styles of Samarkand,
Bukhara, and Khiva, and at the same time, individual uniqueness. This feature is
seen in the embodiment of simplicity and refinement, and in the ground of these,
grandeur and beauty, typical of the practical decorative art of this period.
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Valuable information about the origin of wood carving, the dynamics of its
development, wood carving decorations and their uniqueness, techniques
Rempel L.I. It is covered in the book "Architectural ornament of Uzbekistan". The
gradual development of the art of patterning in Uzbekistan is highlighted with
clear evidence, and the features of the art of wood carving and the scope of
influence on other types of art are defined. The scientist, who thought about the
creation and types of geometric and Islamic patterns, described the classification
of grids for the first time in art history.
This commonality and uniqueness can be seen in the decoration of Zangiota
architectural complex, Kokaldosh and Baraqkhan madrasas, Yunuskhan, Qaffol
Shoshiy mausoleums, plans and designs of building construction. The
architectural-artistic solution of the facade decorations, inner courtyard and
rooms of these buildings, the tasteful selection of colors in tiling indicate that the
masters of Tashkent have perfectly mastered the technologies of color and tiling.
At the beginning of the 20th century, various educational institutions were
established in the cities of Tashkent, Samarkand, and Fergana. A school of
practical education and craft schools were established in Tashkent, and a
sculpture studio (circle) began to work. These schools and educational
institutions were initially aimed at meeting the needs of the Russian and other
European communities living here, but gradually the children of the local
population also began to enjoy this culture.
The foundation stone was laid for the beginning of a unique era in
architecture, architectural decoration and applied decorative arts1 European-
made tables and chairs, various bookcases and other items began to enter Uzbek
households.
In the formation of artistic architecture of the late 19th and early 20th
centuries, wooden columns, fences, fences and window covers - ravons occupy a
special place. Over time, the elaborately styled raised roofs of the porches with
the carved caps of the windows and doors supplanted the glazed frames. Instead
of the pillars decorated with carvings, simple wood began to be used, which led
to the loss of local decorations.
We see that the general principles of artistic styles specific to all regions of
Uzbekistan have been incorporated into the interior of the house. The rooms
were connected to each other by means of two or three beams at most, and there
were no corridors connecting them. Shelves were made on the walls, and
household items were placed on them. The inside of the open room usually
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consisted of a net and a race. The three parts of the walls, called lower, middle
and upper, were interpreted by the craftsmen from Tashkent in their own way.
Some of the walls are designed for use, and in some places they are
designed to decorate the room. The lower part of the shelf is raised to a height of
80-90 cm. The door jamb is attached to the wall, and on the opposite side there
are large shelves for storing blankets.
Balors are the basis of porch ceilings. The beads are arranged in even rows,
and their lower parts are decorated with beautiful patterns. Especially, one-
basin and four-basin ceilings have acquired a special beauty. Large rectangular,
polygonal and transverse ceilings with a convex axis were a wide picture.
The 19th century is the last stage in the formation of the interior landscape
of medieval houses. By this time, the series of designers had become an
independent artistic treasure, and had absorbed the symbolic forms of different
periods. Some patterns have acquired a different meaning. Some of them have
been traditionally used, and some have become folk images, but in any case, they
are eternal and have given people pleasure with their beauty.
A teahouse is a favorite place of the people, a place to relax, chat over a cup
of tea, learn about the news, and share joys. Therefore, this place has been
valued as a center of enlightenment and culture since ancient times. Attention
was paid to making it beautiful and attractive, and masters of carving, engraving
and painting were involved in the decoration work. In the decoration of
teahouses, carved doors and columns, muqarnas rich in light and shade, honor,
pen-and-brow expressions are widely used. Porch pillars and pencil carvings
made in traditional style are different from each other due to their color.
In the buildings built by Russian architects at the end of the 19th century,
local decorations were not given enough space. During this period, the traditions
of classicism, widely used in Russian architecture, began to enter Turkestan.
There were no local wood carvings in any of the buildings of banks, schools,
educational institutions, hospitals, pharmacies, gymnasiums under construction.
But only railings are made for balconies.
The architectural-decorative series and forms that appeared at the end of
the 19th century naturally created a desire for innovation among the masters.
Bold steps were taken towards the true reflection of life scenes in the decorative
art that combines the oriental flat style with the western dimensional
imagination.
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By the second half of the 19th century, when the opportunities to travel to
foreign countries increased, intellectuals and merchants began to use the
features of other cultures in the decoration of their homes.
The masters also follow the requirements and tastes of individual
customers and start using these "innovations" in practice. For this reason,
compared to wooden carvings in administrative and educational-ideological
architecture, cases of following other cultures are observed in the decoration of
residential areas.
Carving works used in the decoration of home interiors have also
developed. This can be seen in the example of fence construction, which is an
integral part of the Uzbek household. In accordance with the development of
architecture, the demand for this art increased. The demand was the factor and
reason for the development of well-known craftsmen and fence-makers. One of
them is the craftsman Nasriddin Ziyagoriyev, who made small patterned lattices
for doors, windows, holes, stairs, 3-4 layered lattices, and was well-known in the
field of latticework.
By this time, Tashkent wood carving began to acquire new glosses
(motives). His new looks came to life. In this regard, the work of master carver
Abdumutal Tursunboyev (1856-1930), who decorated his creations in step style
and tried to use thematic relief images in carving, is noteworthy. He worked at a
furniture manufacturing enterprise opened in Tashkent at the end of the 19th
century, and tried to bring the spirit of the era to the furniture, benches and
tables he made, while at the same time preserving national elements and color
in them.
Carved and colorful patterns in architectural monuments (mosques,
madrasahs) that have survived to this day, more precisely elements or
fragments of Islamic motifs, doors and fences of buildings, various musical
instruments stored in museums and private collections, patterns carved for
various purposes, and wooden products are a clear proof of this.
In short, wood carving is a type of art that has a special place in the system
of practical art, evokes special artistic-aesthetic feelings, imaginations,
philosophical thoughts, and has an integral internal connection with other types
of art. At the same time, it differs from other types of applied art in the fact that
it is a labor-intensive type of art. The fact that more than 50 different tools are
used to create one perfect work of carving and the need to know how to use each
of these tools in their place is evidence of the hard work of this art. It is the
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result of being able to rationally combine individual and collective work in every
way.
Wood carving requires knowledge of several types of crafts (carpentry,
woodworking, metalworking), knowledge of various fields of science (chemistry,
biology, physics, astronomy, mathematics, geometry, history, art studies).
The above-mentioned cases serve to determine the specific characteristics
of the art of wood carving, its place in the system of applied art.
At present, it is common practice to make fences using a carving method,
and to use a fan carving method.
This feature is especially noticeable in the work of young people, for
example, it can be seen in the fences of Jamshid Gaipov. The use of such a
method in latticework expands its subject and shows that the possibility of using
Islamic and geometric patterns is increasing.
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