International Journal Of History And Political Sciences
23
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VOLUME
Vol.05 Issue06 2025
PAGE NO.
23-27
10.37547/ijhps/Volume05Issue06-05
Historical Dynamics of Facade Expression and Harmony
in The Architecture of Uzbekistan
Salokhutdinova Munavvar Golibqizi
Doctoral student (PhD), Samarkand State University of Architecture and Civil Engineering, Faculty of Architecture, Department of
Theory and History of Architecture, Uzbekistan
Received:
25 April 2025;
Accepted:
21 May 2025;
Published:
23 June 2025
Abstract:
On the basis of theoretical studies devoted to the modular system of proportioning architectural
monuments of Uzbekistan, examples of harmonisation of facades of historical buildings are considered. The basic
typology of constructive and artistic methods of forming and balancing facade compositions is presented, and the
complexity of their shaping is noted. The proposed classification system covers a wide range of ways of
proportioning facade elements, which is of value for the professional training of restoration architects. The
developed principles can be applied in the practice of harmonisation of facades of architectural monuments.
Keywords:
Methods of façade harmonization, consistent system of analysis of façade elements, proportionality
of elements, central dominant, symmetry and axial organization, domed drums, ornamental belts, peshtak portal,
vaulted and arched niches.
Introduction:
The details of building facades are the
most important elements of architecture that form the
artistic appearance of a structure. In the context of
architectural monuments of Uzbekistan, especially
those belonging to different epochs, the study of
facade
elements
acquires
special
relevance.
Harmonisation of the appearance of architectural
monuments is possible only with a deep understanding
of the regularities of composition and interaction of
decorative details.
The facades of historical buildings in Uzbekistan are rich
in various elements: columns, cornices, portals,
ornamented frames, rustics and muqarnas. These
elements not only decorate the buildings, but also carry
a semantic and constructive load, reflecting the era,
regional peculiarities and building traditions. However,
the diversity of forms and techniques of decoration
makes both restoration practice and general
systematisation difficult.
The facade of a building is not only its external shell but
a vital carrier of aesthetic, semantic, and structural
meaning. In the context of Uzbekistan’s architectural
heritage, facades serve as a visual narrative of cultural
continuity and stylistic evolution. Spanning from the
early medieval period to the 19th century, the facades
of historic buildings in Uzbekistan reflect a rich
interplay between regional traditions and universal
architectural principles. These include modular
proportional systems, rhythmic compositions, symbolic
ornamentation, and structural articulation.
Despite the abundance and diversity of facade
elements
—
such as portals, domes, muqarnas,
ornamental belts, and coloristic schemes
—
there
remains a need for a systematic framework to analyse
and classify these features. A unified methodological
approach is particularly essential for contemporary
architects and restoration specialists aiming to
preserve historical integrity while ensuring aesthetic
coherence.
This paper aims to examine the principles of facade
harmonisation in historical monuments of Uzbekistan
based
on
theoretical
studies
on
modular
proportionality. It introduces a typological classification
of facade elements and explores their compositional
logic, thereby offering a practical foundation for
architectural restoration and education. Through this
lens, Uzbek architecture is not only preserved but
reinterpreted as a harmonious system rooted in
mathematical precision, cultural symbolism, and
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International Journal Of History And Political Sciences (ISSN
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2771-2222)
artistic expression.
Main part
In the absence of a unified classification of architectural
elements of historic buildings, it is especially important
to develop an approach based on the universal
principles of the classical order system. This will allow
not only to consider each facade element separately,
but also to perceive it as a part of the whole
architectural composition. As applied to the
architecture of Uzbekistan, such an approach makes it
possible to harmoniously integrate details from
different style eras - from Timurid architecture to the
European influence of the 19th century.
Harmonisation involves developing a systematic view
of the architectural heritage, including an analysis of
proportions, scale, rhythm and ornamental saturation
of facades. It takes into account both the peculiarities
of traditional architecture (with its pronounced
decorativism and symbolism) and classical order
principles that came to the territory of Uzbekistan in
the period of colonial and post-colonial construction.
Thus, the proposed systematisation of facade details,
based on theoretical works on architecture of the XVII-
XIX centuries, can become the basis for the
development of universal principles of restoration and
stylistic analysis of architectural monuments in
Uzbekistan. This will allow to ensure architectural
integrity, improve the quality of restoration works and
form a harmonious visual environment preserving
historical identity. Materials and methods. The first
works on identification and survey of the most
significant monuments of Central Asian architecture
were started at the end of XIX-beginning of XX
centuries.The construction of architectural facades of
historical monuments is based on the modular grid
system[1]. The classical theory is based on the treatises
of Rempel L.I., Bulatov, Voronin V.L., Pugachenkov G.A,
Voronina, having studied the construction techniques
of ancient Central Asia, calculated the proportions of
modular relations, with a multiple measure of length
105-110cm. The famous restorer and Central Asian
researcher Zasypkin B.N. noted the presence of
modular system in the construction of architectural
forms of the caravan shed Rabati Malik Bukhara region
[1, p216] Voronin and Ratia established the proportions
of architectural forms of madrasah Barak-khan in
Tashkent, where the western portal of the courtyard
has proportions of the golden section. [2, pp 67-
72]G.A.Pugachenkova analysed the construction of the
facades of the Gumbez Manas mausoleum, inscribing it
in a grid of semigyazov (35cm) established the module
of the plan equal to the thickness of the walls of the
quadrangle [3, p 125] This value is half the span of the
portal vault.
Table 1: Principles of Facade Harmonisation
Principle
Description
Proportionality of elements
Correspondence between the sizes of architectural details and
the overall composition
Rhythm
Regular alternation of arches, niches, and ornamentation
Central dominant
Emphasis on the portal as the visual axis of the facade
Symmetry
and
axial
organisation
Strict symmetry or balanced asymmetry
Colour harmony
Interaction of terracotta, azure, and white tones in ceramics and
cladding
Harmonisation of architectural monuments in
Uzbekistan in the context of the development of
architectural form.In domestic and foreign science, the
issues of architectural harmony have traditionally been
considered in the framework of shaping and
proportioning, but in Uzbekistan, since the late XX -
early XXI century, studies aimed at understanding the
harmonisation of architectural monuments as one of
the fundamental methods of shaping in historical
architecture have been increasingly systematically
developed. These studies are based on analyses of
International Journal Of History And Political Sciences
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International Journal Of History And Political Sciences (ISSN
–
2771-2222)
façade composition elements, decorative and
structural principles,
and
visual
and
spatial
perception.Like the Russian "theory of architectural
forms" of the 19th century, which considered order
elements, frames, pediments and balusters, Uzbek
studies focus on traditional architectural elements such
as aivans, portals (peshtak), arcatures, stalactite
muqarnas, and tile decorations, which fulfil not only an
aesthetic but also a semantic function. Harmony in
architecture is considered not only as a result of
geometric proportions, but also as an embodiment of
philosophical, spiritual and cultural ideas. Historical-
typological approach Studies of the harmonisation of
architectural monuments in Uzbekistan are based on
historical-typological analysis, where the genesis of
façade elements from early medieval Karakhanid forms
to mature Timurid and Sheibanid buildings is central.
The researchers highlight the evolution of such
elements as domed drums, ornamental belts, portal-
peshtak, vaulted and arched niches, and also record the
principles of their harmonious placement.
METHOD
Methodology of façade harmonisation.
In the process of research, a consistent system of
analysing façade elements has been developed, similar
to the approach used in the works of Blondels, Gibbs,
and Sultanov. First, the elements are classified
according to the vertical facade: basement, main
volume, and crowning structures. Then each type is
considered within stylistic epochs, which allows
building a logical and clear typology. In this way, Uzbek
architectural monuments are considered not only as
cultural artefacts, but also as objects of harmonic
composition that are amenable to scientific
analysis.Basic principles of harmonisation
The research reveals several principles that determine
the harmoniousness of facades:
Proportionality of elements - matching the size of
architectural details in the overall composition.
1.
Rhythmicity - regular alternation of arches,
niches, decoration.
2.
Central dominant - the portal as the visual axis
of the facade.
3.
Symmetry and axial organisation - as a rule,
strict, but there are also asymmetrical compositions
with preservation of visual balance.
4.
Colouristic harmony - interaction of terracotta,
azure and white tones, both in ceramics and cladding.
Significance for contemporary design
Contemporary architects and restorers in Uzbekistan
look to this heritage as a system of time-tested
aesthetic rules that can inspire new forms. The analysis
of facade harmonisation is used as a basis for creating
contextual architecture integrated into the historic
environment. The design of modern buildings utilises
elements of the façade composition of monuments,
taking into account their harmonious structure.
In the course of the study of facade elements,
conducted on the basis of various sources of the XVI -
early XX century, a classification of order façade details
was compiled. This system made it possible to structure
architectural elements, simplify their perception and
demonstrate the traditional logic of facade design. A
similar methodology can be adapted to the analysis of
architectural monuments in Uzbekistan in order to
identify patterns of harmonisation of façade
compositions.
Comparison of façade articulation systems. Despite the
fact that the architectural tradition of Uzbekistan was
fundamentally formed on the principles of Oriental and
Islamic architecture, some elements of facade design
demonstrate a clear structural organisation similar to
the canonical order. Horizontal and vertical division, as
in European classics, play an important role in creating
a harmonious perception of the facade.
RESULTS AND DISCUSSION
Horizontal articulation in the architecture of Uzbek
monuments is represented through the elements of
podiums, cornices, majolica belts, floor belts and
friezes. They set the rhythm and scale, emphasise the
main compositional axis. This system is particularly
pronounced in the ensembles of Samarkand and
Bukhara, where the use of horizontal belts of
epigraphy, geometric ornaments and coloured tiles is
reminiscent of the Western order system.
Table 2: Classification of Facade Elements
Element Group
Examples
Horizontal elements
Stylobates, marble belts, friezes with arabesques,
majolica cornices
Vertical elements
Portals (aiwans), minarets, niche compositions,
International Journal Of History And Political Sciences
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International Journal Of History And Political Sciences (ISSN
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2771-2222)
Element Group
Examples
columns and pylons
Wall
surface
treatment
Terracotta carving, sgraffito, majolica, ganch,
mosaics
Upper terminations Domes, portal pediments, tracery parapets
Window and door
openings
Patterned lattices (panjara), arched and rectangular
frames, stalactite cornices
Balconies and bay
windows
Wooden oriel windows framed with carved
columns
Additional elements Gates, wickets
The vertical division is achieved by high portals,
minarets, columns with mosaic covering, which
accentuate the entrance group and visually pull the
volume upwards. This creates a sense of lightness and
aspiration, similar to the effect achieved by order
columns and pilasters.
Classification of facade elements of monuments of
Uzbekistan On the basis of the previously proposed
classification of facade elements, it is possible to
conditionally categorise the architectural details of
monuments of Uzbekistan into the following groups:
1.
Horizontal elements: stylobates, marble belts,
friezes with arabesques, crowning cornices of majolica.
2.
Vertical elements: portals (ivans), minarets,
niche compositions, columns and pylons.
3. wall surface treatment: terracotta carving, sgraffito,
majolica, ganch, mosaics.
4.
Top finishes: domes, portal pediments,
parapets with tracery.
5.
Window and door openings: patterned lattices
(panjara), arched and rectangular frames, stalactite
cornices.
6.
Balconies and bay windows (in residential
architecture): wooden quoins framed with carved
columns.
7.
Additional elements: gates, wickets,
Fig 1. graph developed by Kryukov K.S. Canon of proportionality
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International Journal Of History And Political Sciences (ISSN
–
2771-2222)
CONCLUSIONS
The logic of transition from simple to complex forms.As
in classical architecture, in the monuments of
Uzbekistan one can trace the complication of forms:
from simple, utilitarian to more ornamented and
symbolically rich. For example, a portal may be
presented as a simple arch with a frame or as a multi-
level composition with mosaics, inscriptions, columns
and stalactites. Windows can range from small
frameless openings to decorative niches with panjars
and stalactite frames.
Harmonisation through structure.Thus, the use of such
a classification allows us to speak of the façade as an
integral system where each element participates in
creating visual harmony. In Uzbek architecture,
harmony is achieved through rhythm, symmetry,
colour gradations, plasticity of forms and subtle work
with ornamentation. However, the systematic
approach to facade division, traceable in the order
theory, allows for a deeper understanding of the
architectural logic of traditional Uzbek buildings and
their aesthetic integrity.
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