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ORNAMENTS IN THE APPLIED ART OF THE FERGHANA VALLEY:
TRADITIONS AND INNOVATIONS
Dilnozakhon Moydinova Madaminovna
PhD student of Namangan State University, Uzbekistan
Ferghana, Uzbekistan
E-mail: dilnozamaribxonova1997@gmail.com
Phone: +998911572787
https://doi.org/10.5281/zenodo.15229720
Abstract:
The article describes in detail the formation, development and
current prospects of applied art in the regions of Uzbekistan, Kyrgyzstan and
Tajikistan located in the Fergana Valley. Also, there is talk about the interaction
of local centers and technological processes, the pattern system in applied art,
the leading ideas and meanings of motifs.
Key words:
Central Asia, Fergana Valley, practical art, ornament pottery,
weaving, embroidery, design, folk masters, festival, folk art, technology.
From ancient times, we know that an active layer of the sedentary
population lived in the Ferghana Valley and it was considered one of the main
cultural centers of Central Asia. After the collapse of the Timurid state, by the
16th century, khanates began to form in the regions of Central Asia between two
rivers. The separation of the regions from each other from a political point of
view, in turn, led to an increasing localization of artistic processes. First, the
Khanate of Bukhara and Khiva, then by 1805 the Khanate of Kokand was formed
in the valley area surrounded by high mountain ranges and located in the middle
course of the Syrdarya. By the 19th century, along with all the khanates, the last
stage of classical Islamic culture, the "late classic" period, was observed in the
Kokan khanate. By this time, the main schools and centers of various aspects of
folk art: weaving of silk fabrics, embroidery, hat making, carving, knife making,
wood carving, and pottery were formed.
Initially, the Khanate included several cities, Kokan, Namangan, Kuva,
Margilon, Konibodom, Isfara, Osh and their surrounding villages, which are now
located in the territory of Uzbekistan, Tajikistan and Kyrgyzstan. That is why the
art styles, technology and system of ornaments formed in the art centers
established in this region were very close to each other. Also, in the 19th
century, the situation in the Ferghana Valley, especially in the Kokhan Khanate,
was very unstable, and this situation had a great impact on the country's cultural
life. Later, the Khanate added a number of Chinese territories to its territory.
This, in turn, had an impact on artistic processes. With the subjugation of several
Chinese cities to the Khanate, the influx of local products there also increased. In
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particular, on the basis of the researches of art historians and historians, the
increase in demand for porcelain products imported from China had a great
impact on local pottery, and the porcelain style appeared. Potters working in
this direction were also called chinipaz.
Even now, several types of applied arts are actively developing in several
regions of the Fergana Valley. According to historical sources and examples
collected in collections, the most flourishing period of applied art of Uzbekistan
corresponds to the end of the 19th century. It was during this period that the
main traditional schools and centers were formed in Uzbekistan.
Looking at the examples of folk art kept in museum collections and the
examples of art created by our master craftsmen today, we can see the unique
lines of the Valley art and the harmony of the modern approach.
The use of plant and zoomorphic ornaments and motifs in almost all types
of folk art in an elegant and subtle approach distinguishes the Valley art from
other regions. Almonds, pomegranates, tulips, leaves, four-leaf clovers, flowers,
tulips, willows, and zoomorphic motifs such as, butterfly and fish, bird, deer,
nightingale, ram's horns, nightingale eye, scorpion, cow's eye are used for
decoration. Another unique aspect of applied decorative art is that household
items are also used in patterns. We can see that motifs of knives, swords, jugs,
axes, ax, belts, combs are widely used in ceramics, hat making, weaving and
embroidery.
In addition to being used as decoration, each motif had a deep meaning. In
particular, patterns of almonds and peppers acquired a magical meaning and
fulfilled the duty of protection from black forces and devils. Even young children
wear rings of small peppers and bitter almonds on their wrists;
Pomegranate fruit and flowers are used to express the meanings of
abundant hair, fruitfulness, many children to the family, love and blessings;
flowers, trees, leaves and branches in the Islimi style are mainly related to
the Islamic culture, through which the gardens of paradise are depicted;
zoomorphic motifs also occupy a special place in the pattern system. In
practical art, the image of a bird mainly expresses freedom, means happiness
and freedom;
the deer motif is mainly manifested in the image of a woman, showing
beauty, elegance, sophistication;
Also, the theme of the eye has a much deeper meaning. Since ancient times,
people strongly believed that if somediv look at each other with envy and
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because of this, their luck will go away, unexpected events will happen, and they
used these motives to avoid "eye contact";
although the people of the valley were relatively less engaged in animal
husbandry, like nomadic peoples, they believed that animal horns were
protective and kept ram, mountain goat, and deer horns in their homes. They are
also engaged in decorating with these motifs;
the motif of fish is also a form of Islamic culture and is expressed with halal
(in Islam, fish is recognized as a halal morsel). Also, fish is used as one of the four
elements of the earth, the element of water, and means purity and movement,
purity;
Practical art depicts plants and trees as the element of the earth, and birds
and heavenly bodies, the sun, moon and stars as the element of air. The element
of fire is not observed in samples of Valley art;
Household items are also a wish for the family: knives and daggers
represent a man and serve as protection; represents a clever woman; water jugs
also represent the element of water and show blessings and wishes for purity.
These decorative motifs are considered to be a manifestation of national
values that have been passed down from century to century, but they have not
lost their original essence even though they are undergoing innovative changes
as a result of the exchange of styles and political and cultural influences.
Techniques are changing with the help of modern technologies in making,
knitting and sewing items in folk art. The composition and characteristics of raw
materials are becoming more and more modern. In terms of colors, more and
more bright and unusual palettes are being formed through innovative solutions
and artificial dyes. However, looking at the ancient and modern items created by
folk craftsmen, we can say that the innovations in the pattern system have
preserved their original essence. Some positive things have been done in
technological processes in recent years. Alkali technology in pottery, fabric types
and dyeing technology that disappeared in silk and cotton weaving, stitch styles
and pattern systems that were forgotten in embroidery and goldsmithing were
revived. Also, creative works are carried out by craftsmen in a creative way and
in collaboration with designers who respond to modern trends.
Due to the efforts of our masters, who have been preserving the heritage
from generation to generation through the master apprentice system, and due to
the attention paid to the preservation of folk art by our government, our art has
gained its place and position in the world. "International Crafts Festival"
(Ko'kan), "International Pottery Forum" (Rishton), "Atlas Bayami" (Margilon),
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"International Festival of Gold emroidery and Jewelry " (Bukhara) are
traditionally held in our country. And in the events and scientific conferences
held within the framework of these festivals, craftsmen, designers and scientists
from all over the world exchange experience. In addition, they express high
recognition to our national folk art.
Summary. As can be seen from the above, the Fergana Valley has long been
considered a cultural center of folk art, and several types of art have been
polished and developed over the centuries. With the efforts of the masters who
contributed to its development, the applied art of the Valley has its place and
position in the world. Along with the development of modern technologies, age-
old traditions and systems keep their original meaning and essence despite the
fact that they are developing in an innovative way.
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