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915
ANALYSIS OF THE SEMIOTICS OF THE KIZMUNCHOK OR BOW SYMBOLS ON
THE ARCHITECTURAL MONUMENTS OF KHIVA
Dzhabborova Adolatkhon Kazakbayevna
Teacher of the Department of History and Geography,
Urgench State Pedagogical Institute
https://orcid.org/0009-0003-1098-3143
Abstract:
This article presents information on the representation of symbols in Khiva memorial
monuments and their semiotics. Also, valuable information is provided on the analysis of the
bead or bow-shaped symbols.
Key words:
Khiva architectural monuments, symbol, bead or bow-shaped pattern, semiotics,
green color, triangle, rectangle, circle shapes.
INTRODUCTION: There are many peoples in the world, each with its own history, traditions,
customs, and culture. It is worth noting that our Khorezm is one of the cities rich in ancient
architectural monuments. The ancient buildings of Khiva, one of our most ancient cities,
decorated with various ornaments and patterns, have not lost their beauty to this day. It is also
one of the ancient historical regions located in the western part of Uzbekistan, and its spiritual
heritage and architectural monuments have a rich system of signs and symbols. Since this region
has long been one of the main points where various cultures and civilizations have formed, a
unique and rich spiritual and cultural heritage has been formed here. Especially in the
architectural traditions and architectural monuments of Khorezm, symbols were widely used, and
these symbols expressed not only cultural and educational, but also religious and philosophical
views.
The symbols in the patterns of these architectural monuments were created in different
periods. The symbols expressed by the patterns in this architecture have preserved the most
important and fundamental information about the culture of this period. We can find such
symbols in many places in the fortresses, temples and architectural monuments of Khorezm. The
symbols expressed in each pattern have their own meanings. In this article, we will learn about
the symbols in the form of beads or bows used to decorate architectural monuments in the city of
Khiva. The patterns in the architecture of each people are the product of human thought. The
symbols in the image of these patterns reflect the material culture of man. The wealth of human
thought is embodied in the symbols with ancient meanings in the decoration of architectural
patterns. That is why man, when decorating buildings, expresses the interior and exterior parts
with various colors and images. Therefore, the architecture of our regions has architectural
features specific to this region. Various architectural patterns and images differ from each other
in the region, region, oasis, mountain gorges. The symbols reflected in the monuments have long
satisfied not only social and everyday, but also philosophical views, as well as religious beliefs.
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The city of Khiva in particular occupies a special place with its decorative patterns. Various
symbolic signs are expressed through beautiful symbolic signs in various decorations on wood,
madrasas, mausoleums, and minarets. In addition to flowers, circles, eight-pointed stars, triangles,
rectangles, and eye-shaped shapes, inscriptions were also used in architectural decoration. At the
same time, the patterns provide information about when and by whom these structures were built.
LITERATURE REVIEW AND METHODS: This study serves to a certain extent in fulfilling the
tasks set forth in the Decree of the President of the Republic of Uzbekistan “On the Program for
the Comprehensive Development of the Tourism Potential of the Khorezm Region and the City
of Khiva in 2017-2021”[1] and the Decree of the President of the Republic of Uzbekistan dated
January 16, 2018 No. F-5181 “On the Protection and Improvement of the Use of Objects of
Material Cultural and Archaeological Heritage”[2], as well as other regulatory legal acts related
to this area. “Khudayberdi Qoshmuhammad oglu from Khiva also provides interesting
information about the construction of the city in his work “Dili Gharayib” written in 1831.
According to him, in ancient times there were many cities in Khorezm with 4-5 gates. One of
them was Jurjaniya, one was Urgench, and another was Ramul. “Ramul was built by Sam ibn
Nuh in the image of his father’s ship,” writes historian Khudaiberdi, now it is known as Khivak.
Its former name was Ramul, which means “sandy.” One day, after hunting, Sam lay down on a
high hill and had a dream. In his dream, he saw three hundred torches burning around him. When
he woke up, there was no sign of the torches, only sand around him. He saw a dream and decided
on a good time, so he marked this place, and when he came a second time, he built a fortress wall
here. He dug a spring on the west side of the fortress and produced water. Some attribute Khivak
to this. It is said that Khivak was destroyed and rebuilt many times [3]. Our old masters say that
in ancient times the art of painting was so developed that they could communicate with each
other without words through the patterns they drew or painted. To understand the language of
painting, it was necessary to know the symbolic alphabet of each element of the pattern and the
colors [4]. The art of calligraphy has been developed in Eastern countries, including Khiva, since
ancient times, and the work of these professionals has risen to the level of high art and has also
served as a pattern and decoration for historical monuments and grand buildings. Our ancestors
did not limit themselves to this, but also used them as numbers and, using the “problem” method,
hid historical dates in words [5].
The patterns in the image of signs and symbols reflected in the architectural monuments of
Khorezm, in addition to being decorative, also have an ideological meaning. For example, a
pattern in the form of an eyeball is a symbolic sign. The concept of a symbol is a conditional
sign, a hint that reflects, expresses, reminds of an idea, concept, event, etc. [6]. One of such
symbols is located in the middle of the Ichan-Kala in the city of Khiva. It was used to decorate
the facades and walls of the Yakubboy Khoja Madrasah. This symbol is dark green and is also
called the beaded bow. We can see that these beaded symbols were used to decorate most of the
buildings in the city of Khiva.
DISCUSSION: There are unique schools of ganchkor in Uzbekistan, such as Samarkand,
Bukhara, and Khiva. Of these, the Khorezm ganchkor school is widely used in Khorezm
architecture, which is distinguished by its uniqueness compared to other regions. In particular,
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the plant-like patterns are distinguished by their beautiful pattern decoration, with their spiral
shape that repeats each other, and their dynamism. The city of Khiva, an old historical city, is
distinguished by its antiquity and the fact that its monuments have not lost their dignity even
after years. We can see various decorations and patterns in it. One of the patterns with such a
symbolic sign and feature is the dark green bead or bow shape. We can learn about such
symbolic signs through semiotic analysis. Semiotics is derived from the Greek word and is the
science of signs. Semiology is the branch of science that studies the general properties of signs
and symbols, which store information about signs and serve to transmit information [7].
1-picture. Madrasah of Yakubboy Khoja 2-picture. Dark green beaded bow
Architectural monuments depicting such symbolic signs can be seen on the facades and
walls of the Yakubboy Khoja Madrasah in Khiva, on the facades and walls of the Abdullah
Mehtar Qarikhana, on the facades and walls of the Yakubboy Khoja Madrasah, on the facades
and walls of the Khojash Mahram Madrasah, on the facades and walls of the Mazar-i-Sharif
Madrasah, and on the patterns of the walls of the harem in Toshkhovli. This bow-shaped sign has
been preserved on the walls and facades of architectural monuments to this day. The bow-shaped
or eye-shaped form used to decorate the architectural monuments of the ancient city of Khiva in
Khorezm is one of the symbols that still arouses much interest today. This eye-shaped form
consists of two triangles and one rectangle, reflecting its own symbolic meanings. The triangle
represents the number three. Any number is considered to have a certain power. The meaning of
the number three is instability. That is, the number three indicates the past, present, and future.
The triangle symbol in the bow is reflected in a state where all three are combined in itself [8].
The Zoroastrian religion has existed in Khorezm since ancient times, and the sacred book
of Zoroastrianism is the Avesta. The memory traditions and various ornaments that have
developed in this region since ancient times emdiv the worldview of this era. This Avesta also
has the same three main ideas. A noble thought, a noble idea, and a noble deed. Life is organized
by these three main ideas. In the decorative patterns, the immortality of the world is expressed
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through Madohil (three-leaf) patterns. The three leaves symbolize good thoughts, good words,
and good deeds.
The downward-facing triangle in the bow symbol represents the fertility of the earth and
the marriage of earth and heaven. It symbolizes fire and fire. In this bow, the triangle with the tip
pointing down represents the masculine principle, the sun, fire, and heavenly power, while the
triangle with the tip pointing up is considered the feminine principle, emdiving the meanings of
the underworld, water, and the moon [9].
This green bow and eye-shaped shape also symbolize the Khotamtoy, a generous, brave
young man. His strong, strong div is surrounded by wisdom and is depicted as a protector of
power. The triangle depicted in this symbol also means protection from evil forces. That is why
amulets are made in the shape of a triangle. The square symbol represents the number four,
indicating strength and stability. The square is represented by equality, fairness, order, and unity,
and the earth. At the same time, the number four is compared to truth, wisdom, stability, and
strength. As mentioned above, this triangle in the form of a bow with its tip pointing up to the
sky is a symbol of femininity, and the triangle with its tip pointing down is a symbol of
masculinity, and based on the harmony of the two, it has strength and stability. According to the
Kubrov doctrine, the green color in the bow represents trust, the inner world of our soul. This
color is also characterized by the property of protection from evil spirits. Accordingly, these
batik colors and the domes of the Yakubboy Khoja Madrasah are covered with green tiles. The
buildings were mainly white, green, and blue. White was also considered a symbol of purity, and
blue was also a symbol of peace.
Such patterns in the architecture of Khiva memorial monuments have formed an
incredibly beautiful landscape. Tourists and locals do not get tired of visiting the city of Khiva
again and again, seeing this beauty. It is as if these patterns and decorations beckon a person to
themselves. After all, our holy book, the Holy Quran, says: “Allah is beautiful and He loves
beauty.” The aesthetic point of view of Islam is to be familiar with beauty. Since Allah is
beautiful, then both the man He created, the world He created, and the blessings He bestowed on
His servants are also beautiful. Accordingly, our words describing the names and attributes of
Allah, our buildings representing His power, our architectural monuments, and everything
related to the will and names of God in this world, should be beautiful. Beautiful inscriptions,
ghazals, patterns, architectural monuments, Islamic-philosophical forms of fine art bring joy to
our souls through the organs of hearing and sight. In the creative program of Islamic culture, the
integrity of the form of thoughts and things is wrapped in a shell of symbolic-philosophical
content. “Pattern is like a woman wrapped in a veil. Pattern is not a way to grasp truth with your
hands, but a symbol of understanding the essence of beauty, confirming this beauty in your heart,
preparing yourself for the state behind the veil and entering it”[10].
ANALYSES AND RESULTS: In Khorezm, the ancient architectural monuments in the city of
Khiva are diverse. Especially the colorful images, signs, symbols in their decoration, are of great
interest to the local population and tourists visiting our country today. It is important to study our
cultural heritage and pass it on to future generations. Also, in the 21st century, scientific research
on the preservation of the spiritual and cultural heritage of peoples in different countries of the
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world is gaining relevance. Today, interest in the study of patterns, signs and symbols in the
decoration of architectural monuments is growing in world ethnology. This requires special
research by world ethnologists aimed at creating a scientific basis for the development of tourism
based on the analysis of signs and symbols decorated in architectural monuments in various
historical regions and the customs and traditions associated with them, their local characteristics,
and the development of ethnology of folk culture.
We know from history that over time, some types of decorations of memorial
monuments were widely used in a certain region, while others lost their place. As a result, the
patterns and symbols used for symbolic decorations in architecture changed. That is why we can
see symbolic symbols and patterns in memorial architecture that are characteristic of each era.
Therefore, ethnographic attention has been paid to the study of patterns in the form of symbols,
their changes in form, and their types. President Sh. Mirziyoyev has also made a number of
decisions to study our ancient cities and to preserve and study our historical architectural
monuments for future generations. Decrees and orders have also been issued to protect and
improve our memorial monuments.
CONCLUSION: In conclusion, it is worth saying that this bead-shaped pattern in the decoration
of the memorial monuments of the old and ancient city of Khiva has a unique feature, and these
patterns also reflect the struggle between good and evil and the principles of femininity and
masculinity in the process of human life, and together they also depict the symbol of the family.
In every era, goodness and virtue have been glorified in the world. Each color has a special
meaning. Therefore, dark blue colors, which mainly express the self-confidence of humanity,
were widely used in memorial monuments. In addition, the meaning of triangular and rectangular
shapes also has a special place.
The city of Khiva is notable for the preservation of ancient architectural monuments.
Both the construction of Khiva's buildings and the patterns in its decoration have a characteristic
of their time. One of these features is the use of inscriptions on these monuments as decoration,
that is, patterns with hidden meanings through the art of calligraphy. In addition to decorating
with patterns, they also mention when these buildings were built. This is a clear example of how
they are clear evidence in teaching our history to future generations.
REFERENCES
1. Decree of the President of the Republic of Uzbekistan dated May 4, 2017 “On the Program for
the Comprehensive Development of the Tourism Potential of the Khorezm Region and the City
of Khiva in 2017-2021” //https://lex.uz/acts/-4876081
2. 2. Decree of the President of the Republic of Uzbekistan dated January 16, 2018 No. F-5181
“On the protection and improvement of the use of objects of material cultural and archaeological
heritage”. // https://lex.uz/docs/3506332
3. 3. Khudoiberdi Kushmuhammad ugli. “Dili gharoyib”. Manuscript 1831-y, UzFASHI. Inb.
1335. 56-page
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4. 4. Bulatov S., Mukhtorov A. Ganchkorlik san’ati "Musiqa" publishing house Tashkent 2002
130 pp. 3- p.
5. 5. Khudayberganov.K. Khiva is the oldest fortress in the world – T.2012. 26 -p.
6. 6. https://izoh.uz/word/ramz
7. 7. https://uz.wikipedia.org/wiki/Semiotika
8. 8. Science about numbers. Science and life. 1992. No. 1, 2, 3 issues.
9. 9. Mingboyeva Dilrabo. The language of symbols. Tashkent-2007. 125 p.
10. 10. Gafur G‘ulom. The covenant in Genesis. «Tafakkur* jumali, 1994, No. 1, pp. 53-54.
