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FORMATION OF TASHKENT WOODCARVING AS AN ART SCHOOL
IN THE DEVELOPMENT OF PRACTICAL ART OF UZBEKISTAN
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.14944973
Abstract
Tashkent woodcarving school occupies a special place in the development
and improvement of Uzbek woodcarving art. It has a number of commonalities
and peculiarities with other schools due to the processes of historical
development, the geographical location of the city.
Key words:
desk, sink, tray, tools, boards, pencil case.
Аннотация
Ташкентская школа резьбы по дереву занимает особое место в
развитии и совершенствовании узбекского искусства резьбы по дереву.
Она имеет ряд общих черт и особенностей с другими школами,
обусловленными процессами исторического развития, географическим
положением города.
Ключевые слова: письменный стол, раковина, поднос, инструменты,
доски, пенал The symbols and images expressed in Tashkent woodcarving
patterns, which have their place in the practical art of Uzbekistan, were equally
understandable for all classes of the people. The architectural monuments that
have survived to this day, the equipment associated with them, and the carvings
in works of applied art are a clear proof of this.
If you look at the history of wood carving in modern Uzbekistan, it
becomes clear that it can be conventionally divided into several types according
to its functional function:
a) majestic wood carving related to architecture and urban planning
(patterns on pillars, doors, balustrades and vassas in various structures);
b) carving patterns on wooden objects used for educational purposes and
religious ceremonies (tablets of different sizes for opening a book, pencil stands,
mosque minbar, etc.)
v) wood carvings used in interior decoration of rooms (bars, fences, door
handles, clothes hangers, etc.);
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g) wood carving of objects intended for household purposes (box, chest,
chair, couch, objuvoz, plate, plate, spoon, cradle, knife and whip and handles of
other similar equipment, saddle, comb, etc.);
d) wood carving on objects intended for creating other practical works of
art (for example, wooden stamps, stamps, made for printing flowers on gauze).
All these types are fully characteristic of the Tashkent school of wood
carving, and it has been developing in these directions for centuries. In
accordance with the historical necessity, the demand and needs of the
population, the cultural-aesthetic level, and the possibilities of satisfying them,
one or another species advanced in development or remained at a certain level
of stagnation in certain periods.
Tashkent practical decorative art and its integral part, the art of wood
carving, did not appear by itself, the roots of these arts and crafts, as mentioned
above, go back to the distant Mozaic layers.
This profession is also a dynastic inheritance for the master woodcarver
Tashpolat Ayubkho'jaev (1836-1908), who is known for his works in the style of
pargori in Tashkent wood carving. He learned this art from his father Ayubkhoja.
Various home furnishings - chairs, tables, boxes - used by Toshpolat
Ayubkho'jaev are currently kept in the State Museum of the History of
Uzbekistan.
Carving is also a profession for Ne'mat Ibrohimov (1925), master of double
doors and manifestations. He learned the secrets of this art from his father
Ibrahimjon Zakirov. The work of these dynastic masters served to make the
Tashkent woodcarving school rich and colorful at the end of the 19th century.
It is known from history that every master taught the secrets of his work
only to his relatives. The creative path of the discussed dynastic masters at the
beginning of the 20th century determines the stylistic diversity of Tashkent
wood carving and allows us to create a certain idea about the culture and social
life of the time.
At the beginning of the 20th century, along with traditional home
furnishings, examples of the furniture industry - tables, chairs, armchairs and
sofas - began to appear in intelligent and self-confident households. This process
is manifested not only in the city of Tashkent, but also in places far from it,
including the national patterns that appeared on home furnishings - tables and
chairs made in Kok. At this point, it should be noted that the tables, chairs,
armchairs, sofas and sofas made by master woodcarver Haydar Najmiddinov
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from Kokan, master carver Sulaymon Khojaev from Tashkent, and master
Abdumutal Tursunboev are worthy of attention.
In the synthesis of arts, the effect of color is also incomparable, the color of
building materials, wood, glass, ganch, color of paintings must be harmonious,
they should complement each other in terms of content and color.
It is worth noting that since the art of woodcarving has served the nobles
since ancient times, it cannot be included among the branches of practical and
decorative art intended for all classes of the people. Because only people who
know the composition of wood well, but also those who understand well the
design of houses, geometry and mathematics laws were engaged in this field.
Therefore, ordering wood carvings required the customer to spend a lot of
money, and ordinary people could not afford such expenses.
For this reason, woodcarving works were widespread, first of all, in
constructions of state importance. In order to fully demonstrate their talents, the
masters created various pattern compositions for the kimozar, striving for
perfection as much as possible in the carvings. The new models discovered were
first put into practice in this construction. From there, these news gradually
reached the people's residences.
It is also worth noting that the tradition of wood carving was also widely
used in the houses of wealthy merchants. In particular, the living room of the
houses continued the national traditions and began to be decorated in imitation
of European decorations.
In general, the projects of Tashkent houses differ from those of Bukhara
and Khiva by their freedom. Usually they were built on three sides along the
perimeter of the courtyard, and the windows could be directed not only to the
south, but also to the north and east. Pillars in Tashkent buildings are not very
ornate and luxurious like those of Khiva, but four-, eight-, sixteen-sided.
"Although the wall patterns are not as small, dense and attractive as those of
Bukhara, beautiful Islamic patterns evoke calm and peaceful feelings. The
combination of Islamic patterns and colors turned the ceilings into works of art,"
writes researcher T. Stramtsova .
The characteristic features of Tashkent folk architecture and magnificent
wood carving of the late 19th and early 20th centuries are clearly visible. This
situation is reflected, in particular, in the variety of architectural planning and
decoration methods. The masters of Tashkent did not follow the path of blind
imitation, but accepted the styles familiar to them as a guiding tool.
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The main task of the architects was to create comfortable, beautiful houses
in every way for living, while the woodcarvers were responsible for the use of
carvings suitable for the building.
The row of rooms encircling the courtyard and the pillared verandas with
carvings of different levels acquire special sophistication.
Each young bride and groom were allocated a room and a hall, and the
decorative chest was a constant attribute of these rooms. The bedroom had a
minimal amount of things inside, and the wall right after entering the door was
completely partitioned, and it was divided into three. Usually, there are large
and narrow takhmons on both ends. Estimates are based on the width and
length of the box. In one room, a blanket and a pillow were kept, and in the
other, fruits and other goodies necessary for waiting for the guests were kept.
Another integral part of the room is a shed designed for living in winter. In
most cases, the tancha is a recess made near the window, where embers
(charcoal coals with a burning smell) are placed. A square chair (sandal) was
made for this place, and a wide leaf blanket was covered on top of it. The legs of
the chair are connected to each other by crossed (crossed) strong boards. It was
possible to kill by stepping on these boards.
Sandal legs were minimally carved, as many householders used them as a
footstool in seasons other than winter. Tancha was always warm inside, where
water was stored in the sand for washing and ablution in winter. With the
arrival of spring, tancha is collected. The pit was closed with a special device,
palos was laid on it, and its place was taken by khontakht.
The furniture and decorations of the room are very modest and minimal,
and in general, it has the elegance and charm typical of Tashkent decorative arts.
. By the end of the 19th and the beginning of the 20th century, the
appearance of new building materials radically changed the construction style of
traditional dwellings in a positive direction. Windows and frames were installed
in these houses, which were raised on foundations, and covered with domed tin
roofs. Little by little, buildings with a roof-shaped upper floor appeared.
Wealthy and self-possessed owners began to block the ditches and ditches
with frames and doors, and gradually the frames began to be glazed. Due to the
fact that the verandas are surrounded by glazed frames, the need to install
ornamental columns has been reduced to some extent.
Ceilings played a big role in the artistic design of the room. Here, great
attention is paid to the play of colors and shapes, the ceiling is made with
colorful wasajuft, mats, and the owners of some houses paid attention to the
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decoration of balor and wasa and mats with carved patterns. .Bolorosti peshtak
honor at the junction of wall and ceiling is decorated with carving or muqarnas
honor.
Changes in the style of construction did not leave the attitude and demand
for wood carving unchanged. In some cases, boards of different shapes began to
take the place of bolors. A transition to a modern style began with the help of
picking boards or giving additional processing to the honor. First of all, the
process of shape change made the ceiling images more or less voluminous,
solemn, and artistically meaningful.
As for the interior of the room, it is a chorkursi (sandal) made for the tancha
and a bed, and in the childhood room it is a cradle, and some elements of the art
of carving are expressed in these devices.
In the spring, life moved to the porch until late autumn. Necessary
conditions for living have been created here. There were even tancha devices on
porches to kill on cool spring and late fall days.
In most cases, the porch was single-columned, with both sides open, and the
wall side with shelves. The hall of houses with a veranda is combined with a
veranda. The main equipment of the veranda was a slat. The pillars, beams,
ceiling, eaves, cornices and beams of the porch and verandah were the source of
wood carving, and their processing and decoration was determined by the
economic status of the owner of the house.
Columns, fences, fences and window coverings - rabons occupy a special
place in the formation of artistic architecture of the late 19th and early 20th
centuries. The elaborately styled raised roofs of the porches with carved
window and door caps eventually supplanted the glazed frames. Instead of
columns decorated with carvings, their seats, trunks and moshas were replaced
by plain wood, which led to the loss of local decorations.
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.
By the 19th century, many objects had lost their religious basis, and the
symbolic importance of patterns is not the only phenomenon. 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 timeless and have
delighted people with their beauty.
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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 introduce
features characteristic of other cultures in the decoration of their homes.
The masters also follow the demands 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
buildings.
Each of the works created by the woodcarvers of this period, Iskandar
Mirzayakubov, Tashpolat Ayubkhojaev, Sulaymon Khojaev, Usta Otahoja, Akbar
Azimov, Saidolim Islamov, Ziyagoriev Nasriddin, Ibrahimjon Zakirov, Abdumutal
Tursunboev, is a mature work of art.
In short, wood carving is an art form that has a special place in the system
of practical art, evokes special artistic-aesthetic feelings, imaginations, and
philosophical thoughts, and has an internal connection with other forms of art.
At the same time, it differs from other types of applied art in that it is a
labor-intensive type of art. The fact that more than 50 different tools are used to
create one perfect piece of carving and the need to know how to use each of
these tools in their place is evidence of the laboriousness of this art. It is the
result of being able to rationally combine individual and collective work in every
way.
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