Artistic Ceramics of

Uzbekistan

^^%\

&M

M.K.RAKHIMOV

ARTISTIC CERAMICS OF

UZBEKISTAN

TASHKENT 2006

Published ¡n 2006 with the financial and technical assistance of the United Nations

Educational, Scientific and Cultural Organization within the framework

of the UNESCO/Japan Funds-in-Trust project "The Blue of Samarkand: Inventoryand Revival of the Traditional Ceramics of Uzbekistan".

The authors are responsible for the choice and the presentation of the facts

contained in this book and for the opinions expressed therein, which are not neces¬

sarily those of UNESCO and do not commit the organization. Nor do they theexpression of any opinions as the part of UNESCO concerning the legal status

of any country,territory, city or area or of its authorities, or concerning the delimita¬tion of its frontier or boundaries.

First published in Russian Language in 1961 by the publishing house of the

Academy of Sciences of the USSR,Tashkent.

Director of Publication: Michael Barry Lane.

Project Cordinator: Sanjar Allayarov.

Project Assistant: Muhayyo Makhmudova.

Editor of the English edition, Author of additional texts: Alisher Rakhimov.

English Translation: Eric Wahlberg.

Text revision: Michael Barry Lane, Penelope Krumm

Design and Photo materials: Alisher Rakhimov.

Printed by: Seal-Mag, Tashkent.

© UNESCO 2006

All rights reserved

CONTENTS

FOREWORD 6

INTRODUCTION 7

COLOUR PLATES. Historical ceramics 9

CHAPTER I 17

General information on the production of ceramics.

The traditional forms of ceramics and their role in

the life of the Uzbek people. 17

Ceramics production across Uzbekistan and its organizational

forms both past and present. 21

CHAPTER II 27

Traditions in the technique of ceramics production.

Raw materials. 27

Production process and instruments. 31

Separate production processes. 35

CHAPTER III

Traditions in the artistic design of household ceramics

General artistic principles of design. 59

CHAPTER IV 91

New features in ceramics production and prospects

for its development. 91

ILLUSTRATIONS Traditional tools, shapes and ornaments. 98

APPENDIX I. Some of the famous potters of Uzbekistan in the 154

19th - early 20th centuries.

APPENDIX II. living master potters of Uzbekistan. 1 78

COLOUR PLATES XX-XXI century ceramic art. 184

Glossary 194

FOREWORD

This book is part of a series by the Institute of Fine Arts on Folk Arts of

Uzbekistan, the result of many years of work by M. K. Rakhimov. An engineer and

ceramist, he worked to organize ceramic enterprises to produce both traditional

and new forms of ceramics. In 1940 he attempted to systematize his informationin this field for the first time.

In 1955 the Institute published a short extract of his materials in "Folk Deco¬

rative Arts of Soviet Uzbekistan," containing new materials which are included here.

In this book he focuses on the production of artistic ceramics as a branch of

folk art and provides the first careful analysis of Uzbek native ornaments. The huge

variety of motifs of ornaments and forms of ceramics has long attracted the

attention of Russian and Western European researchers. With this work,

Mr. Rakhimov - who himself comes from a long line of eminent ceramists -

has completed the first thorough study of the ceramics of Uzbekistan.

Editor -A. S. Morozova

Illustrations - Z. Basitkhanov, I. Rakhmanov, V. Rozvadovskii, N. Rodin,

L. Dmitriev, A. Milonov, N. Kirgintsev, S. Kagan, S. Rakushev

introduction

Household ceramics is one of the oldest forms of decorative applied art in

Uzbekistan. The first glazed ceramics, using a green glaze, were made in the 8th

century, and in the mid-8th century, the first colored ceramics - covered in transpar¬

ent glaze and appearing gray - appeared. Later, in the 9-1 2th centuries various

glazes were developed. Glazed vessels in this period were decorated with painting

and were of high technical and artistic quality, especially in Afrosiab. There are

several schemes of classification of decorative styles of Afrosiab ceramics. Some

say they are very close in form and technique to other areas of Asia, though their

artistic features are unique and striking. The economic decline of the 13th century

due to the Mongol invasion led to a decline in ceramics production, and techniqueand ornamentation became coarser.

In the 14-1 6th centuries, ceramics production reached its peak. Techniques

were varied. This was the era of delicate, porcelain-like products, known as kashin

in the archaeological literature. The color blue was added to ceramics in the

16thcentury, reflecting the influence of Chinese porcelain. The ceramics of the

17-1 8th centuries have been mostly neglected. There is still no scientific classifica¬

tion scheme or detailed study of this period. However, this period is very important

as a link in the historical development of ceramics. In the 17-1 8th centuries, there

were various feudal states, and ties among producing regions weakened. Produc¬

tion took on a narrow localized character, and individual artistic styles in all regions

developed. This continued until the early 19th century. Ornamentation in the 19th

century was of complex patterns, rare in earlier ceramics. Many 19th century

ornamental motifs are close to ornaments of ganch and wood carving, embroidery

and other forms of applied art, attesting to the widespread nature of these composi¬

tions. Such ceramics, very different from early and late medieval ceramics, can be

considered a separate artistic tradition. Many of these ancient traditions continue

to develop today.

The study of household ceramics in Uzbekistan began in the mid-1 9th cen¬

tury. For many years after Central Asia joined Russia, information about ceramics

as one of the popular folk arts was added to reference literature and was written

about in the press. In the late 19th century, the systematic study of all forms of

pottery in Central Asia began. These were shown at exhibitions in Tashkent,

Samarkand and Fergana. Art history studies began as well, as did archaeological

research, conducted by Vitkin, Kstalskii, Zimin, Semenov, and Andreev.

8 M. Rakhimov

Publications of this era include an album of the artist N. Simakov "Art in

Central Asia" (1883) with 50 color illustrations. Only two are of ceramics: examples

of Tashkent dishes and Bukhara crockery from the late 19th century. R. Martina

published an album with the ceramics of Kokand, Tashkent and Samarkand in 1 897.

Articles by N. N. Shcherbina-Kramoarenko on the household ceramics of Central

Asia with color drawings were published in 1898-1899, focusing on Samarkand and

Kattakurgan. In 1904 in Leningrad, an album by N. Burdukov "Pottery of Central

Asia" was published with some b/w and 22 color reproductions of items from Rishtan,

Kattakurgan, Vardanzi and Bakhautdin. In a review of this album by A. A. Semenov

in 1907, the author states that the best ceramics were not included, including works

from Tashkent, Samarkand and Andijan. There were no reproductions of the origi¬

nal and high quality ceramics of Khorezm, Namangan, Gijduvan and Shakhrisabz,

though examples were available in museums in Tashkent and Samarkand.

After the revolution, the study of ceramics intensified, with monographs pub¬

lished in the 1920s. This research focused on the organizational forms, production

output and descriptions of specialists. Potters organized cooperatives, and a sys¬

tematic study of national culture began. Museums carried out research work and

collected pre-Revolutionary samples. However, no comprehensive study was pro¬

duced. The technique of production was not thoroughly studied, nor was any list of

terms enumerated. In 1956 S. I. Ibragimov published a short description of the

technique of pottery and collected and analyzed the terminology used in Fergana.

In 1959 two monographs on ceramics in Central Asia were published. The first,

"Pottery Production in Central Asia" by E. M. Peshchereva, looks at pottery in Cen¬

tral Asia. It describes hand-produced ceramics in the mountain regions of Tajikistan

and seven centers (Kattabag, Rishtan, Shakhrisabz, Gijduvan, Tashkent, Samarkand,

and Kattakurgan), characterizing the forms of household ceramics, the potter's

workshop and the organization of production. However, the author does not touch

on questions of artistic ornamentation. The second book, "Ceramics of Khorezm" is

a collection based on the Khorezm expedition of the Institute of Ethnography of the

USSR. There is some material on contemporary ceramics in Khorezm and the re¬

gion and some description of artistic ornamentation, including some historical facts

about production. Nonetheless, little material on ornamentation is provided. That is

the goal of this work.

Historical ceramics

COLOUR PLATES

Historical ceramics

1. Fergana Valley. Ill-I Millennium BCE

10 M. Rakhimov

2. Fergana Valley. Ill - 1 Millennium BCE

Historical ceramics 11

3. Khorezm II Millennium BCE

4. Surkhandarya. Sopolli tepa XVII - XV cc BCE

12 M. Rakhimov

5. Surkhandarya. Old Termez I -Il cc CE

Historical ceramics

6. Tashkent region. Ceramic kitchenware with zamorph handlel-IVcc CE

7. Fergana. Ceramic vessels with scratched ornament

M. Rakhimov

8. Ceramic pitcher, Bukhara. XII c CE

Historical ceramics 15

9. Ceramic vessels XII c CE

10. Ceramic bowl XII c CE

M. Rakhimov

11. Samarkand ceramic bowl X-XII ce. CE

Chapter - 1. General information on the production of ceramics 17

CHAPTER I

General information on the production of ceramics

The traditional forms of ceramics and their role in the life

of the Uzbek people

The Uzbek people continue to make wide use of ceramics even today. All

ornamented ceramics are not only utilitarian, but form an inherent part of the home

decor. There are old customs connected with obtaining new crockery. For example,

when a girl gets married, her relatives bring her a gift one or two days before

the wedding: 6 porcelain cups or 2-3 teapots and a pair of plates.

For family celebrations, a large quantity of new pottery is acquired. In mod¬

ern circumstances, these customs take on a new form. Many mahalla committees

obtain large collections of pottery for general use which become the property of themahalla committee and are used for all celebrations in the mahalla. The same

procedure is used for collective farms.

Though porcelain tableware is widespread, ceramics production has not

declined. This is due partly to tradition, but also to the fact that certain earthenware

vessels, such as those used to store milk products, have advantages. Buttermilk is

produced more successfully in ceramic glazed bowls and keeps better, and fresh

milk stays fresh longer. Unglazed porous containers (xum, jugs) are preferred for

protecting fresh cold water and other products from the summer heat.

The importance of ceramics is attested to by the wide variety of forms and

names. There are dozens of different dishes, cups, bowls and jugs used as table¬

ware, and others used in the household. There are 7 forms of tandirs (clay kilns

used to make bread and samsas - small filled pastries). Ceramics are produced

in two basic types: kosagarlik and kuzagarlik (bowl-like and jug-like). The first

includes relatively flat items. There are items for eating and drinking, large basins

18 M. Rakhimov

for milk, flat bread, sugar and others (Pic 1), which are always glazed. The most

common items are dishes and cups, generally called tovoq though each region has

special names. Cups and basins for liquids, with many different forms and names,

are very popular. The second category includes upright vessels - jugs for water and

storing produce, vases, jars and others (Pic 2).

These are generally unglazed, and include pitchers and wide-necked pots

with one or two handles (or without handles) for storing water and milk products and

jugs for water with one handle and spout. They also have different names in each

region. Potters also produce artistic ceramics - small items such as jar-like vessels

with lids for salt and bread (tuzdon, nondon), lamps and candleholders (chiroqdon,

shamdon) and toys (xushpalak).Often tableware is not ornamented. It is glazed

completely on the inside, and only partly on the outside.

Starting in the early 20th century, some old forms (lamps and candleholders)

stopped being produced, as factory goods took their place. Potters began to de¬

velop new forms of artistic ceramics: gultuvak - jars for jam, suvidish - carafes for

water, guidon - vases for flowers and others. There are many types of ceramics for

household and technical use.

There are large flat bowls for mixing dough - tog'ora, for washing rice (used

also as lids for cooking plov) - tog'oracha, large basins for washing clothes-

jomashov, large jugs for storing water and grain - xum, basins for dying - yom or

nilxum. There are jugs - xum - with two and even four flat handles for storing

produce - qushqulaq, butter churns without or without two handles - guppe, with a

wide bottom and narrow neck, pitcher-like jugs for waterwheels - digir go'za, water

pipes of various sizes - quvur, ceramic pipes for furnaces - bug' and ovens for

baking bread - tandir).

Most have their analogies in old items found in digs throughout Uzbekistan.

Ornamentation has changed over time, however. Modern masters use traditional

motifs as well as completely new patterns reflecting new realities and aesthetics.

Chapter - 1. General information on the production of ceramics 19

Bellow ¡s a chart of the names of various crockery in different parts of Uzbekistan:

Size

diameter

(cm)

Rishtan Gijduvan Shakhrisabz Samarkand Kattakurgan Tashkent

40-50 Charx

tovokqTovoqi

palovxuriLangari

tovoq

Tovoqikalon

Lali tovoq Katta

lagan35-42 Tovoqi

kalon

Tovoqi safid Tovoqioshxuri

Dubaiak

tovoq

Togoracha

tovoq

O'rta

lagan30-38 Miyona

tovoq

Tovoqilabgardon

Nim tovoq Iak nim

biak tovoq

Nim tovoq Kichik

lagan25-30 Chuqur

tovoq

Tovoqi

langari

To 'y tovoq Dubaiak

shokosa

To 'y tovoq To 'y

lagan20-28 Maraca

tovoq

Tovoqi

labgardonchaXarchagi

tovoq

Labgardon Tazia tovoq Maraka

laganFor

liquids8x13

Kosa Kosa Kosa Kosa Kosa Kosa

On

round

stands

12x18

Kosa Do 'qqi Kosa Miyonashokosa

Kosa dyobi Do 'qqiKosa

Tovoq

On low

round

base

6.5x12

Iumoloq Mashadi-kosa Mashadi-

cosa

Shokosa Nimduqqikosa

Tovoqch

On low

round

base

8x14

Shokosa Shokosa Katta

shokosa

Shokosa

dubaiak

Shokosa Shokosa

On

round

base for

bird

cage

Donkosa Kosa obixo 'ri Donkosa Donkosa Sub kosa Kosacha

On low

round

base,

small,for

cream

or

sweets

Nisholda

kosa

Shinni kosa Qaymoqkosa

Qaymoqkosa

Sharbat

kosa

Nisholda

piyola

Medium

size for

tea

Sopolpiyola

Naqshinpiyola

Do 'Icha Piyola Piyola Piyola

Medium

size for

sour

milk

Kallakcha Kallakcha Sarkalla Do 'Icha Kallakcha Qaymoqidish

Large Tarkash Tog 'oracha Sut

tog 'orachaTag 'oracha Tog 'oracha Sut

mog 'oracha

20 M. Rakhimov

Pic 1 . Ceramic crockery, bowl making (kosagsrlik)

Pic 2. Ceramic crockery, jug making (kusagarlik)

Chapter - 1. General information on the production of ceramics 21

Ceramics production across Uzbekistan and its

organizational forms both past and present

The production of ceramics developed in all central regions of Central Asia

and remains widely distributed today, though at different levels. At different periods,

different centers concentrated on ceramics production, developing local traditions

of technique and artistic design that have been maintained over time. Special cen¬

ters in Uzbekistan include: Rishtan, Gijduvan, Shakhrisabz, Samarkand, Kattakurgan,

Tashkent, Khiva region, langiaryk, and the Khankin district of Khorezm province.

The region has passed through all stages of ceramics production, from

domestic potters to mass production in cooperative or state production. Masters

gradually developed particular specializations. In areas of ancient ceramics

production, each potter worked out specific types and forms. Some produced

unglazed large items, others produced glazed versions of the same items. Some

produced bowls with one-color glaze without painting, others produced the same

with painting. Narrow specialization determined the way skills were passed on.

Pottery became a family enterprise. The father passed on his skills and secrets

of production to his sons or close relatives. Boys learned the full process of produc¬

tion, girls carried out secondary work, usually ornamentation.

Before the revolution, ceramists joined shops or guilds in their village or city

headed by an elected elder potter. They resolved all questions of production and

supply. There was an interesting system of study, where boys who were considered

students - shogird - were not paid, and only after 8-10 years were considered

masters and received their first modest income. Independent work as masters was

possible only after an official dedication ceremony. It was very difficult for students

to graduate as independent masters. To open a shop, one needed both a house

and special equipment for production. Most students could not afford this and worked

as hired assistants - xalfa - and lived poorly.

The situation of ordinary master-ceramists worsened as capitalism took hold.

All larger shops were concentrated in the hands of moneylenders, traders and

a few rich potters who sold pottery wholesale. Potters were poorly paid (25-28 roubles

for a kiln full of 800-1000 items). Some masters worked as farmers in the summer

and as potters in the winter. Most ceramics were sold on the production site, and

demand remained stable. This situation began to change significantly

22 M. Rakhimov

in the mid-1 9th century, when porcelain and pottery products began to be imported

from Russia. As a result, some types of pottery were crowded out of the local mar¬

ket by factory-produced items. Many pottery shops were closed. The living stan¬

dard of potters fell, and many were forced to leave their homes in search of work.

Ceramics production declined drastically both in technique and artistry. After

the revolution, local production began to make a comeback. In the 1920s, artels

were formed: Ximtrud in Rishtan, Gonchar in Kattakurgan, and Brlik in Samarkand.

By 1925 these had many products, and as production increased, special¬

ized ceramics artels were formed, with separate shops for brick, roof, household

and artistic ceramics. During WWII, much ceramics and pottery was produced in

the region because of the huge evacuation of much of the population of the West¬

ern part of the Soviet Union to Central Asia. Many who trained then are outstanding

masters today -Inogamdjan Sadykov, Makhmud Ergashev, AkbarTadjialiev, Mukhtar

Khaidarov and Bobo Nishanov. In 1960, production cooperation was reorganized,

and all ceramics shifted to the authority of local soviets (ceramics factories and

large shops). The government tried to broaden ceramics production and prepared

new specialists, with hundreds of masters taking courses organized at the largest

ceramics production centers (Tashkent, Rishtan, Khiva and others). Brigades of

students were organized.

Their studies depended on the difficulty of their specialty, lasting from 3-6

months. The students were paid stipends and provided with all necessary materi¬

als. The master teaching them was paid a percentage increase in his wage. At the

end of the course, the student took an exam and graduated. The training took place

in regular schools. In Tashkent, the Artistic Study Concern held courses in 8 divi¬

sions. Many graduates now work in shops or teach. In 1952-3 at the Benkov arts

college in Tashkent, an applied arts division opened which included ceramics. To¬

day, at the Tashkent courses, 75% of graduates are women, who mostly go on to

work in the Kzyl-Kulol artel.

Older masters are often surprised to discover that women can produce pot¬

tery just as good as their own. Despite measures to strengthen ceramics produc¬

tion, production remains low, especially In comparison to the production of enter¬

prises which issue construction ceramics. Moreover, most of the items produced

are unglazed. Artistic ceramics are produced mostly in Rishtan and Tashkent. In the

Fergana valley, ceramics are most highly developed in Rishtan, Kokand, Andijan,

Chapter - I. General information on the production of ceramics 23

Namangan, Leninsk and Chust. Each city has several ceramics enterprises for con¬struction materials and household ceramics. Rishtan. Rishtan is the leader in artis¬

tic ceramics. Rishtan pottery is famous throughout the Fergana valley. In the early20th century, Rishtan pottery was renowned throughout Uzbekistan. However, with

the development of ceramics production in Tashkent, Rishtan ceramics disappeared

from the markets of other regions.

There are different legends about how ceramics began in Rishtan. Some

say it was developed 800-1000 years ago, others say 500. One legend says thatwhen Temur sent representatives to various regions, his representative to Rishtan

was a student of Said Mikhri-Kulol, a ceramics master. The excellent red clay in the

region was important and was used in both kosagarlik and ko'zagarlik production.

Yellow-red clay is found everywhere near Rishtan at a depth of 1-1.5 m under¬

ground in a layer 0.5-1 m deep. It can be used with little preparatory cleaning, unlike

in other regions of Uzbekistan. In addition to clay, dyes, quartz sand and gray-whitefire-resistant clay are also used.

At its peak, Rishtan had hundreds of small shops producing ceramics, both

household and architectural. In 1900-1910 there were still 130 shops with 250 pot¬ters and assistants. After the revolution a production cooperative united Rishtan

potters in a ceramics artel that existed till 1960 (first called Ximtrud, then Chinni-

garon, then langi-Khaiat, then Stalin). In 1958 70 ceramists worked there. Turnover

was 800,000 roubles. Ceramics were also produced by Gorpromkombinat, whose

pottery shop had over 20 ceramists. In 1960 they combined to form the KuibyshevSilicate-Ceramics Factory No 1 . Ceramists in Rishtan produce various construction

materials as well as both household and artistic pottery.

More than 20 types of household crockery and fine artistic items are pro¬

duced: dishes, cups, basins, nondon to store lepyoshka (Uzbek bread), figured jugs- obdasta urdaki, obdasta tuvuq, obdasta g'ildirak, tuzdon (saltshakers), tandir and

others. Masters specialize in: chinnipaz - high quality faience, okpaz - white back¬

ground and transparent alkali glaze, and sariqpaz - yellow lead glaze. Artisticceramists are usually descendants of masters - ustazoda. Rishtan masters take

the best artistic ideas from other regions, including China. Bukhara region. Gijduvanis an ancient ceramics center near Bukhara, a city which also has its own ceramics

production. One of the quarters of Bukhara is even called Kosagaron. The villageBardanzi, now abandoned, also produced

24 M. Rakhimov

ceramics for the Bukhara market. However by 1900-10, Gijduvan became the main

supplier of Bukhara, with 40 masters. Most masters produced artistic crockery, and

there is still a Kosagaron Street there. 75% of masters made ornamented flat dishes,

1 0% made jugs, and the rest made unglazed household items. In 1 958 in Gijdivanat,

6 masters worked in a ceramics shop in the artel Kuvat. Now ceramics is concen¬

trated at the Gijduvan regional industrial kombinat. There is still ceramics produc¬

tion in some kishlaks in the Vabkent district, in particular Uba, where artistic crock¬

ery and toys - xushpaliak- are made.

Shakhrisabz. Shakhrisabz is also an ancient center for both architectural

and household ceramics. In the 19th century, Shakhrisabz was a main administra¬

tive and trade center of the Bukhara khanate. It no longer had much ceramics pro¬

duction. Masters lived in two quarters - Kulollik and Khazrati-sheikh. Nonetheless,

it developed original crockery which was traded in Zeravshan valley and Bukhara.

There is still ceramics production today in Shakhrisabz at the ceramics shop of the

promkombinat. Abdukarim Khazratkulov is a fine representative of the artistic school,

continuing the traditions of old Shakhrisabz ceramists. He produces 15 different

types, 70% of which are artistic.

There is also production in Karshi, Kitab, Beshkent, Kasan, Shirabad, Termez,

Denau and others. Samarkand. Samarkand is one of the major centers for artistic

ceramics. In the past, wonderful tiles and majolica were produced for architectural

facing. The great periods of the past were the epoch of Afrosiab (9-1 2th centuries)

and the epoch of the Timurids (14-1 6th centuries). At digs at Afrosiab, high quality

ceramics are often found, painted with mineral underglaze dyes, and with a lustrous

shine. Some tiles have gold in overglaze painting.

As Samarkand lost its importance as a capital and industrial center, ceram¬

ics production also declined. Skills were lost and ordinary crockery was produced.

This happened in the late middle ages. By the early 18th century, Samarkand was

in ruins. Though the population revived in the late 18th century, ceramics produc¬

tion languished, though household items were produced. By the early 20th century,

39 types of kuzagarlik (jugs) and 15 types of kosagarlik (bowls), partly painted and

glazed on both sides, were produced. By the late 19th - early 20th century,Samarkand had several dozen famous ceramist masters. In Soviet times, ceramics

were produced at the artel Gorniak, part of the Samarkand mining union (gornyi

promsoiuz) and regional promkombinat. In 1960 these organizations united as the

Chapter - 1. General information on the production of ceramics 25

Samarkand regional promkombinat. There, ordinary crockery with simple painting

and yellow lead glaze is made. Now only 12 types of crockery are produced, with

tovoq, shokasa and kosa predominating. Production has fallen partly because of

the large quantity of factory-made crockery now in use. Also local regional produc¬

tion of simple unglazed crockery has revived. Locally, tovoq and kosa and pro¬duced.

Potters in Urgut, Kattakurgan, and Nurat produce interesting work.

Kattakurgan has a long history. In the late 19th century there were still dozens of

small ceramics shops, and items were traded in neighboring regions. Usta Khidoiat

was well known to Rishtan and Bukhara kulols (potters). In Kattakurgan in 1958, 6

masters made ceramics, only 2 with artistic painting. In the ceramics shop at the

Urgut artel langi-lul, 5 masters worked, and at the Krupskaya artel in Nurat - 4. In

all district promkombinats in Samarkand province there are small ceramics shops.

Tashkent is an ancient pottery center. In the 10th century, Makdisi noted the

high quality of crockery which was exported. By the end of the 1 9th century, produc¬

tion was well-organized. There were several ceramics shops and potters were or¬

ganized in a professional organization closely tied to the "ideological center" in

Bukhara. (Bukhara masters saw themselves as representatives of Bakhoudtin

Nakshbendi Mikhri Kulol, a protector or patron of potters. They came to Tashkent to

collect donations in honor of the patron and held a plov feast in his honor.) However,

Tashkent potters had their own style, closer to that of Samarkand and Fergana.In Tashkent, pottery was a family tradition.

Potters lived in certain quarters. Kuzagar lived in Beshagach in Eski

Namozgokh, where there were 8-10 workshops. Kosagar lived in kukshi parts of

the city - Obinazir, Khiyobon, Chigartai, Sharshintepa. There were 12-14 work¬

shops with 50 masters. Cooperative organization and specialization in artels in

Tashkent began in 1920.

Each potter worked on his own in a workshop, carrying out the heavy tech¬

nical processes independently and giving the artel finished products. In 1925 the

Worker Cooperative artel was formed, which was renamed the Djonon artel in 1 929.

It was expanded and renamed Kzyl-Kulol in 1935 with overall workshops. The older

generation of Tashkent ceramists joined, including Turab Miraliev, Tursunbai Talibov,

Tashpulat Nurmukhammedov, Alim Aripdjanov and others. In 1944 the artels were

26 M. Rakhimov

given the name of the Soviet hero Baranov, who worked there till he became

a soldier. The Baranov artel was the largest ceramics enterprise in the republic.

In 1952 there were 50 ceramists working there, and an annual turnover of 100,000

roubles. It was reconstructed with new technology, and trained new ceramists from

across the country. In 1960 it was reorganized as the Silicate-Ceramics Factory No.

2 of the chief administration of local industry under the Soviet of Ministers of the

UzSSR.

Khiva and Khorezm province. These regions produce original ceramics -

household, artistic, and architectural. In the 19-20th centuries, tiles were produced

for the monuments at Kunla-Urgench, Khodjeili and Khiva. The village Madyr isconsidered the cradle of ceramics art, where excellent masters worked in the 19th

century. Students came from other regions and provinces to study. Masters went to

work in Khitaikishlak, Gandumiyon, Kattabag, Durdarak, Chimbai and other oases

of the Amudarya. Besides Madyr, Khanki and langiaryk were also centers. After the

revolution Khorezm ceramists were organized into cooperatives in industrial artels

or worked in ceramics shops in promkombinats. Now all ceramists are members of

kombinats of home services under local Soviets. In the past 20 years in Khiva there

have been several courses to train ceramists, and the region now enjoys many

masters.

Chapter - II. Traditions in the technique of ceramics production 27

CHAPTER II

Traditions in the technique of ceramics production.Raw materials

The main materials in the production of ceramics include pottery clays, fire-

resistant clays, quartz, white quartz sand, ferriferous clays and support materials,

including reed fluff, mineral dyes and chemicals, wool, other organic materials -adobe, sawdust, coal and others. Excellent deposits of loess clay, including pottery

clay, are found throughout the ceramic-producing regions. Since the quality of the

ceramics depends on the quality of the clay, it is important to study the composition

of the local clays and the possibility of producing such clay. So far there is no uni¬

form schema defining the various clays.

The main feature of ceramic clay is its plasticity, its ability when raw to take

on any form when spun on a potter's wheel or poured into clay and gypsum forms.Next is its fire-resistance, thanks to which after baking it keeps its form and become

firm and hard as rock. Uzbek masters classify clay according to plasticity into two

categories:

1 . good, plastic clays used exclusively for hollow vertical

vessels produced on a potter's wheel and for tandirs;

2. poor, less plastic clays for producing flat forms.

To determine plasticity, masters have several methods. Kulols determine

the suitability of clay for ceramics very simply. Rishtan kulols, for example (Mazoir-

chinnisoz and Mannon-kulol) prepare a small cylinder the width of a finger and then

try to break it. Plastic clay breaks when it is stretched and is very thin, while poor

sandy clay breaks immediately without stretching. Sometimes a rolled cylinder

is bent. Plastic clays bend easily and do not crack and break, while poor clays

break. Gijduvan master Usman Umarov determines plasticity in this way: he rolls

a small ball and presses it with his fingers - a ball of good clay squashes without

28 M. Rakhimov

cracks, but a ball of poor clay develops cracks. The degree of plasticity varies con¬

siderably: it is lower where there is an admixture of, for example, quartz sand. Al¬

though plasticity is very important, allowing many forms, too much plasticity has

negative qualities. The mass takes very long to dry, and dries unevenly. During

drying deformation and cracking can take place, and during baking this is worse.

Thus, masters are careful to find the right consistency. If the clay is too plastic, up to

50% poor clay is added in.

Depending on the admixture, pottery clays are colored yellow, brown, green,

dark gray, red-brown and others. After baking they vary from dark brick red and

yellow to pink and almost white. The color of pottery clay depends on the existence

of 4-11% ferrous oxides (they color the clay from yellow to dark-green), and on

organic substances (remains of roots and leaves) and coal, coloring the clay from

gray to black. During baking, the color can change considerably. Gray or black

becomes gray-white, since the organic material and coal combust. Clays with fer¬

rous oxide become yellow, red or dark brown. Other admixtures also affect the

color. Lime, when combined with iron, produces a lighter color.

Pottery clays can be alkaline, ferriferous, lime and silicate. Samarkand clay

from Chupanat contains 5.13% alkali, 9.09% ferrous oxide, 5.84% calcium oxide,

0.65% magnesium, 7.35% aluminum oxide, and 62.71% silica; Jizzak clay - 5.94%

alkali, 10.95% ferrous oxide and 8.36% calcium oxide; gray Rishtan clay - 4.83%

alkali, 886% ferrous oxide and 0.92% calcium oxide; red Kuvasai pottery clay -

6.12% alkali, 10.32% ferrous oxide and 5.08% calcium oxide.

Thus in pottery clay there is rather a lot of calcium oxide - up to 9%, up to

11% ferrous oxide, and up to 6% alkali. These materials make the clay plastic,

lowering its melting temperature to 1200-1300 degrees Celsius. The normal melt¬

ing temperature of fire-resistant clay varies from 1600-1700 degrees Celsius.The

presence of lime in the form of fine grains changes the color of objects, lowers fire-

resistance, and reduces the interval between caking and softening during baking,

but it is not harmful to production. The existence in clay of large pieces of lime -

from 0.5-1 mm and more - lowers the quality of the final product, sometimes mak¬

ing it unusable. After baking, these pieces of unburnt lime absorb moisture and tend

to slake. They swell and can even crack the object. Such clay is unusable.There are

sources of good clay throughout Uzbekistan, often near the surface, in gullies and

along rivers.

Chapter - II. Traditions in the technique of ceramics production ' 29

A common site is near a place where pottery is produced traditionally. For

example, in Rishtan there is a clay quarry 2 km for the town; in Samarkand - 8 km

away, near Chupanat; in Tashkent - 6-8 km away in Karasarai and Kuloltuprok;

in Khiva - 2 km away in Gandunmien, etc. Kulols extract the clay from a depth

of at least 1-1.5 m. A 5-6 month supply would be roughly 10-15 tons to produce

10-15,000 items.

In Gilbota clay, the clay substance (silica hydrate) is mixed with a small

quantity of quartz sand and metal oxides. This is good for engobe vessels, since

it produces the colors of engobe. When dried, this clay is white or gray. It is good

quality, with high plasticity and is white and matte after baking. Gray Gilbota clay

is obtained by masters in Fergana from Lakkon, Sokh and Angren; in Samarkand

and Bukhara provinces ceramists obtain this clay in Karnab (from Sukaita, 40 km

south of the railroad station Kermen), and in the Khorezm oasis - in Sultanata.

Potters use white quartz sand for different purposes: the production of engobe

loia (soil), quasi-faience mass and glaze. Often the sand is not clean, mixed with

dirt and clay substances, mica, limestone and others. Kulols determine the quality

of the sand this way: when ground on white paper, if there are no dirty stains or

when it is shaken in water, the water is not cloudy, then the sand is clean. Unwanted

admixtures can be rinsed off with water and the use of a fine sieve. Sand used for

glazes should not contain much ferrous oxide, which can change the glaze color.

White coarse and fine-grained quartz sand is often added. The following are the

main deposits:

1 . Maisk site (3km northeast of Pervomaisk, 26 km east of Tashkent);

2. Darbazin site (Kazakhstan, 4-5 km from Darbaz, 40 km north

of Tashkent);

3. Chupanat site (15 km northwest of Samarkand);

4. Khaidarkon and Lakkon, Fergana province.

In many regions lacking clean white sand, kulols use quartz. Besides pure

quartz, it contains alkali, ferrous oxides and a small quantity of lime. Quartz, like

white sand, is added to engobe loia, to different colored engobe dyes, to glaze and

to faience to get chinni crockery, white ok sopol. Before quartz (aktash) is used, it is

baked, crushed and ground on a millstone and then added. Aktash is found in Rishtan

(Lakkon), Samarkand (Agalyk), Parkent and Silchak (near Tashkent), Khorezm

30 M. Rakhimov

(Sultanata) and other locations.All colors used, besides lapis lazuli and cobalt, are

added by masters themselves or their assistants. They include ferrous red clays,

manganese, elements containing chromium and ferrous oxides, and others. Ferrif¬

erous red clay is used like engobe dye for achieving a red-brown color. Red clay

has varying plasticity. Very rich clay cannot be used alone since it separates into

shards. Usually up to 50% Gilbota (less plastic, fire-resistant clay) is added, after

which the clay can be used for engobe or painting. There are many sources of red

clay in Uzbekistan, but the best for ceramics are from Humsan and Parkent (Tashkent

province), Rishtan (Fergana), Karnab (Sukaita), Penjikent (Tajikistan) and

Sultanuizdag (Karakalpakstan).

To achieve a dark-brown or dark-violet color, manganese is used. It is found

near Parkent, in Chupanat and Nurate, and in Lakkon and Sultanuizdag. Malg'ash

gives a yellow color. It contains ferrous oxides and chromium oxide and is found

near Parkent, Nurat, Lakkon and others. To get a green color, masters used copper

oxide, and for a warm-yellow color - ferrous oxide. These dyes are prepared by the

masters. Bits of old copper and iron are burned in kilns during the baking of pottery,

then the oxidized part of the metal is ground in an iron mortar, passed through a

sieve and dissolved in water.

During painting different color tones are achieved as necessary. As for the

dyes purchased by masters, lapis lazuli or lojuvard, producing an ultramarine color,

is of particular importance (especially in Rishtan, Samarkand, and Gijduvan). It Is

imported from India and Iran. When it is lacking, potters use a factory dye, cobalt

oxide, to achieve a dark-blue color. Other materials are also used in ceramics pro¬

duction. To prepare a glaze, masters take different metallic oxides (lead, tin (stannic

oxide), precious metals), quartz sand and potash from cinders remaining from burnt

roots of wild plants (kirk bug'um, choroinak chog'on and others). Reed fluff is used

for flat forms. When added, the clay does not become misshapen or crack during

drying. It binds the pieces of clay and lets moisture be evenly released as steam.

Wool is used for hollow products such as tandirs. Like reed fluff, it binds pieces of

clay. Sometimes organic substances such as adobe, coal and sawdust are added.

They burn during baking and render the object porous. During drying and baking,

especially of large items, no cracks or deformation result. In ancient times, ceram¬

ists used organic substances in clay from which they formed large ceramic blocks,

tiles and covers (sarpush) to cover the mouth of kilns (kosa-gorkhumdon).

Chapter - II. Traditions in the technique of ceramics production 31

Production process and instruments

Traditionally there have been two ways of producing ceramic vessels - by

hand and using a potter's wheel or charkh lathe. Forming ceramics without a potter's

wheel is the main method in rural mountain regions, usually for home production.

Women were the main potters, producing household vessels for their families and

close relatives and neighbors, as well as hand-produced figurines and toys for sale.

Most craftsmen producing items for sale worked on a potter's lathe, using a hand

model to produce detailed items and special forms that could be produced

on a lathe (tandir, xum and others).

General schema of production

After careful preparation of the raw material, clay lumps are made, and the

ceramist, working on a stand, places the lump on a fast spinning disk and forms the

item. The formed object is placed for drying on a special drying rack. After prelimi¬

nary drying, it is put back on the stand to be finished with a special instrument, the

kojkord. Next, the master smoothes the surface with a moist cloth and places

it back on the drying rack for complete drying. Dried objects are treated by engobe,

i.e. covered in a layer of a mixture of clay to give it strength and the desired color.

After this engobe drying it is signed or engraved, then dried again, covered with

glaze and baked in a special oven. This general schema is not standard. Depend¬

ing on the item, it may be baked twice: after painting there is a first and after glazing

a second baking.

Lathes and instruments

Instruments used by local masters are very simple, made from wood and

metal.The wood should be well dried, since green wood warps, especially in con¬

stant contact with clay and water. (Experienced kulols specially preserve a few

boards in a raised spot on special drying racks - rap, warmed by hot gases from the

kiln). The main potter's wheel is the charkh (Pic 3), which was well known in ancient

times. It is usually located beside the baking kiln. It consists of a wooden stand-rack

and two wooden disks - the lower parra (1m in diameter) and the upper sartakhta

(20-30 cm in diameter), connected by a vertical round rod - uk, which passes through

an opening in the upper surface of the potter's wheel. The uk passes to the lower

disk with a gap of 5-6 cm, ending in a sharp tip on which an iron disk is secured,

32 M. Rakhimov

held by a stone tile kharsangtosh to give the rod a light spin. On the performing

upper end of the rod, a second disk sartakhta, is located. In the center of the disk on

the reverse side is there is a depression where the sharpened tip of the rod

is placed, with soft leather stretched over it.

The master's seat (a high bench or clay seat in the wall near the charkh) is

made on the level of the stand, so that the master can comfortably spin the lower

disk with his feet, producing the spin on the rod for the upper disk. For grinding the

glaze and other hard materials, a hand mill is used. It consists of two millstones

made of granite, weighing 40-60 kg. The best stone for millstones comes from

Parkent, Nuratinsk, Penjikent districts, and near Rishtan. The size of the millstones

depends on the capacity of production. The millstone is placed near the entrance

of the workshop on the right or left. It is built on a foundation of burnt brick, fortified

with ganch or cement. An iron rod

penetrates the lower stone, which

is held beneath by several small

boards pona, regulating the move¬ment of the millstones. When one

of them is removed, the upper

stone holding the upper tip of the

iron rod is lowered onto the lower

stone and the distance between

stones is less. As a result, when

the millstones are spun, the mate¬

rial is finely ground. By increasing

the number of boards, the open¬

ing between the stones

is increased, and the material is more coarsely ground. By regulating the upper

stone in this way, the desired coarseness of the grinding can be achieved. Depend¬

ing on the material, it can be ground moist or dry.

Pic 3. Potter's wheel (charh)

A hand millstone can process 10 kg of glaze or 16 kg of aktash in 8 hours.

Besides the two potter's wheels various small instruments and equipment

are needed. On the potter's wheel, items are fashioned using a wooden knife of

right-angle cutting with rounded edges 5x10 cm called ingichka mola (Illustration I,

1-2). This instrument is used to finish flat items, large bowls, clay washing basins

and others. Wooden triangular knives called katta mola and kichkina mola (Illustra-

Chapter - II. Traditions in the technique of ceramics production 33

tion I, 3-4) are used to finish vertical forms - jugs, vases, flower jars, etc. Kulols

make the above knives from wooden sheets of various sizes (3x8 cm, 5x7 cm, 7x8

cm), rounded on the upper part or side.

They serve to sharpen and smooth the upper side of the vessel on the potter's

wheel. The edge of the vessel is smoothed with a moist cloth (Illustration I, 5).

When removed from the potter's wheel, the bottom of the vessel is separated from

the wheel using a sim made from fine thread 20cm in length. The tips are wound

with a cloth or piece of leather (Il¬

lustration I, 6). For engraving on

clay, an instrument shaped like a

scallop, the tarok, or a comb is

used, consisting of several sticks

or metal switches bound together

(Illustration 1, 18). On the surface

of the item, original decorations

can be made with them by com¬

bining two movements: the spin¬

ning wheel and the free move¬

ment of the kulol's hand. As a re¬

sult, a unique strip consisting

of parallel lines is produced.

When making a large vessel

0.8x1.3 m consisting of two or

three parts (xum, iom, etc.) a

terracotta or wooden instrument

tuppa is used (Illustration I, 16).

This may be round or oval, with

a diameter of about 1 0 cm and is Pic 4. hand mill, (eriguchoq)used to smooth the walls of the

vessel. To finish the reverse side of the bottom of a flat form, a special kojkord is

used. This is a knife with a turned up tip in the form of a hook (Illustration I, 19).

To make a pargari ornament, with a half circle, the master uses various

wooden compasses airipargar prepared by the kulols (Illustration 1, 24, 25). To make

deep lines in an ornament by etching, a kalami kharrosh with a dull metallic needle

on the tip is used (Illustration I, 20). Wide kalami kharrosh consist of 3-4 needles

34 M. Rakhimov

(Illustration I, 21-23). For painting, various brushes are used: Khat kalam - brushes

for outlining the color line of varying thickness both in the central part and the

edges; Savsar kalam - soft brushes for painting fine lines of ornaments on alkaline

glaze - kulols make them from wolf or gopher tails; Tagi kalam - brushes for paint¬

ing large areas as background, made from horse or goat hair (Illustration I 8-10,

17).

To finish stamped items, the master uses various stamps and forms: qolip,

nakshin-kolip - stamps for ornaments. Nakshin-kolip come in different sizes and

materials - clay and wooden. The stamp gives not only a simple contour on the soft

clay, but an ornamental print, i.e., a relief drawing like a stamp on a relief back¬

ground. Simple qolips (zigzag geometric lines, stars, circles, etc.) are usually made

by kulols themselves from carrots, turnip, pumpkin (stamps from soft materials

absorb color better, and their impression prints well). Sometimes the dry top of the

plant guzanak in the form of a 12-pointed star is used (Illustration I, 7-9, 11-13).

Instruments used by kulols include the following: For drying, near the kiln -

khumdon - there are 3-6 rowed racks made from boards placed on kozik nailed

to the wall. During finishing on the wheel, special clay disks of various sizes are

used (liagan kolib, tog'oracha kolib, xum kolib). Before shaping, such a disk

is fastened by wet clay in the center of the potter's wheel. After finishing the item,

it is removed along with the qolip (Illustration 110). This ensures that an item of large

size does not deform when being removed from the wheel and moved for prelimi¬

nary drying. When preparing the item for baking, various supports are used:

the three-legged sepoia (Illustration I, 15), low sharp pointed clay cones - g'ujmak

(Illustration I, 14), and round or cylindrical disks 8 cm high of diameter 20 cm -

sarnak. Clay disks - sarpush - of diameter 70 cm and thickness 5 cm are used

as covers for loading and unloading flat forms from the kiln.

Chapter - II. Traditions in the technique of ceramics production 35

Separate production processes

Processing the clay and preparing ceramic materials

The uniformity of the clay is vital. In natural conditions, clay has admixtures

- roots, reeds, good and poor veins, etc. Processing removes the harmful admix¬

tures so that the color and quality is uniform. Items produced from fresh unproc¬

essed clay crack and buckle when dried and baked. To get a uniform plastic mass,

first, it is stored in an open net; the air, frost, rain and sun make it crumble into small

particles. Rishtan masters Mazoir and Uzok Shermukhamedov freeze it (khoki iakh).

10-15 tons of clay are prepared in the autumn and placed in an opened raised spot

1 m high. To allow rain to enter, kavak-kavak openings are made. If the autumn

is dry, then the clay is watered. In the winter it expands upon freezing, and the

frozen water breaks it up, allowing further processing - the longer the better.

The action of the wind and rain also allows a chemical transformation of the

clay, contributing to uniformity. The mass, consisting of plastic and poor parts, should

be uniform even in its fine pieces, in order to maintain this uniformity during produc¬

tion. For uniformity, further processing includes: separation, drying, wetting, rinsing

and other steps. To clean the clay it is dried in the open or under a sheet and sorted.

Gilbota clay is particularly dirty. Big chunks are broken up, and sand and other

admixtures are separated. This processing is necessary if the clay is from different

sites or layers.

In ceramic production the mass refers to material ready for forming. For

producing simple pottery, the mass consists for the most part only of one type

of clay, for more refined work - a mix of clay, quartz, sands and other materials.

Kulols prepare the mass in accordance with the demands of plasticity for forming

the required product. There are 6 categories of mass:

1 .ku'zagar loi - a mass with 60-70% plastic clay and 30-40% poor clay. This

is used for vertical forms: pitchers, hums, flower jars, etc.;

2.kosagar loi, lang loi, tovok loi - a mass of poorer but clean clay with reed

fluff, to produce flat forms such as dishes and bowls;

3. loi guldan, sershirali loi - a mass of plastic clay with ferriferous clay known

as jusha. All components are mixed in a diluted form and passed through a sieve;

where plasticity is very high, jusha is not added. This clay is used for fine vases;

36 M. Rakhimov

4.chinni loi, ok loi (quasi-faience) - a mass consisting of gray Gilbota

clay with aktash and alkaline glaze. Used for small items and flat forms kosa, piala,

lagancha and others;

5.koshin loi - a mass for preparing glazed and unglazed tiles, consisting

of plastic and poor clay with quartz sand;

6.kesma koshin loi - a mass for making mosaic cut tiles, consisting of fire-

resistant gray clay (Gilbota) with a quantity of quartz aktash or white sand.

Kulols clean the clay of admixtures, sprinkle about 0.4 ton in a heap on the

brick floor of the loikhona (storage and processing room for clay) and carefully mix

it, then pour water on it, mixing it with a shovel, and let it sit for 4-5 hours or all night.

It is then mixed with the feet and kneaded, and divided into heaps on the brick floor

(one heap covers the edge of the next one), and then again kneaded by foot.

This is done 5-6 times, and then the mass is divided into big heaps and

stored in the corner, covered by a cloth or mat so that any plant pieces rot. It is left

for 12-36 hours. Small pieces of clay are kneaded by hand and rolled with a cylin¬

der. They are thrown together so that bubbles are eliminated, since these would

expand during baking and produce cracks. This manual processing cleans the clay

of remaining admixtures - small reeds, lime, roots, etc. This also increases its flex¬

ibility and malleability, essential features for fine artistic ceramics.

To get a normal thick viscous mass suitable for forming on the potter's wheel,

20-35% water is added, depending on the plasticity of the clay. For practical use,

kulols differentiate several conditions of density and consistency:

1 .semi-strong - kattik loi which is difficult to form, used for large forms: xum,

iom, kush-kulaki, nil-xum and others;

2. medium soft - u'rta loi which forms well by hand (vases, jugs, flower jars,

etc.);

3.soft - iumshok loi, lagan loi for forming flat forms: dishes, cups and others.

It includes reed fluff so that the mass does not deform and crack while drying in the

open air. Kulols prepare reed fluff in the autumn and dry and store it for later use. It

is kneaded by hand before mixing with the clay and added in small portions (a layer

of fluff and a layer of clay). It must be spread evenly to avoid defects during drying

and baking. A considerable amount is added to kulok loi for making handles and to

dazmol loi for finishing fine uneven and rough areas on surfaces of items.

Chapter - II. Traditions in the technique of ceramics production 37

To form a vase or small figurine (toy), kuzagar loi - which is additionally

processed on the worktable - is used. Rishtan master Mazoir makes semi-faience

chinni, and gives the following instructions:

1.40 parts by weight Gilbota - fire-resistant plastic clay gray-white, 20 aktash, 20

alkali glaze and 20 quartz sand. 2.30 parts Gilbota, 45 pieces of aktash, 23 potash

glaze, 2 copper oxide.

Using the first recipe gives an object of gray-white color, rather fragile and

porous. This is because baking occurs at a lower temperature (900-950 degrees

Celsius). The second recipe produces a blue color.Using the above mass, masters

must grind as fine as possible all components when dry, then pass them 2-3 times

through a moist millstone so that the mass rests in a diluted condition for 8-1 0 days.

This improves the quality of the mass considerably.

Forming ceramics

The oldest method of forming ceramics is without a potter's wheel - by

hand. Today, kulols prepare toys and large containers for water and agricultural

produce by hand. They also apply color by hand. Large forms require a combined

method, using the wheel and hand. On the wheel, the lower parts of large vessels

are turned (the bottom and lower walls), while the upper parts, including the mouth,

are formed by hand.

The form of large vessels (xum, nil-xum, iom) used to store water and pro¬

duce, and even the application of color, have not changed in centuries. The proce¬

dure requires great skill. The walls are built up manually with well-prepared mass

rolled in layers. The walls rise slowly on the drying lower layers. A xum requires 2-3

days to make. The kulol prepares to make a vessel by placing on the upper disk of

the potter's table a circular stand, and on it - a large lump of well-stretched clay.

He turns the lower part of the vessel, roughly a fourth of the form. The shallow wide

"bowl" with a small groove around the edge is removed from the stand.

To strengthen the walls of the prepared parts, they are left a short while

under a sheet or in the shop. On these lower parts, the walls of the body and neck

are made in the following way: a piece of clay of the necessary size is shaped in the

form of a long bar - zulma, with one corner thicker than the other. On the thinner

end, a groove is made. The bar is placed by the thick end on the moistened upper

38 M. Rakhimov

edge of the vessel on its groove. Using the fingers of both hands, beginning from

the middle to the tips of the bar, the kulol joins it to the lower parts of the vessel by

a rising action of the fingers. In this way, the body of the vessel rises slowly. Large

vessels may have 5-6 layers. With each new layer, the master is careful that no air

is trapped. The walls of the vessel are smoothed and finished by simultaneous raps

on the inside and outside using a tovoncha.

Items are produced on the potter's wheel in the following way: on the upper

surface of the stand, pear-shaped lumps of well-stretched clay are placed. The

kulol wets his fingers and making a circular motion, stretches the clay lump into

a cone form, then lowers it. He repeats this 1-3 times to secure the lump in the

center of the wheel and to force out air and excess moisture. He then squeezes with

his thumbs on the top of the lump, making a depression in the center and constantly

pressing his thumbs from the inside, and with the help of the rising walls, with his

remaining fingers on the outside, he slowly turns the lump into a hollow cylinder.

To make the walls thinner, and to remove unevenness on the outside, the kulol

takes a wooden knife in his right hand, and holding and pressing from inside with

his fingers and on the outside with the knife, he gives the item the desired form

(Pic 5).

To lessen cracks and slipping, the kulol moistens his fingers often. Smooth¬

ing the edges of the item is done with a moist cloth or soft moist leather labgir

(Illustration I, 5). The finished item is cut with a fine thread from the wheel, placed

on a board and dried. If the item is finished on a stand qolip, then it is removed with

the qolip and molded ornamentations are made by hand or pressed with forms and

then stuck on the hardened item with wet ordinary clay. When the ¡tem is somewhat

dry (usually the next day), the kulol finishes the bottom and walls of flat forms from

the reverse side. For this, in the center of the wheel, a block in the form of a cylinder

is secured. On it, the ¡tem is placed upside down, then the kulol smoothes the item

with a kojkord. It then gets its final drying.

There is another method using clay (after preliminary baking), gypsum and

wooden forms (qolips). A ceramic that is too intricate for finishing on the potter's

wheel is made by pressing by hand in clay or gypsum forms; i.e., figurative formed

jugs which are oval, wheel-shaped, flattened, duck-shaped and others . Such items

are produced in Khiva by kulol Allonzar and in Rishtan by Babakhodji-kuzagar. They

make jugs shaped like ducks, roosters, and others, as well as toys.

Chapter - II. Traditions in the technique of ceramics production 39

Pic 5. Process of making ceramic vase on the potters wheel.

40 M. Rakhimov

Forming such items is also done by pressing a soft mass in separate pieces into

molds and then combining them to form a whole. The absorption of moisture in the

walls allows them to separate from the molds. On the edges of pieces, a thickening

occurs so that the mass of one half firmly joins the other piece.

When separate pieces are moistened and filled with clay, they join, although

they must be firmly touching, or they will not hold. In addition, they must be properly

stretched or lumps will result. After 1-2 hours, when the mass hardens sufficiently,

the ¡tem is removed from the mold. Ridges, seams and uneven places are carefully

removed with a sharp wooden knife or filled with clay. Babakhodjaev says that his

father carefully worked on and kept in a damp place the clay mass prepared to form

figurines and relief ornamented jugs, for 4-6 months after starting them. This

improved the quality of the clay. Also, he pressed parts of the relief ornamentation

separately into small forms, then attached them to the surface of figurative jugs.

This accounts for the originality of his ceramics.

Drying - kuritish

After shaping the clay, it is dried near the kiln. In small shops this is done in

the same room. Depending on the consistency of the mass and size, there are two

types of drying:

1 .Flat forms made from poor clay with reed fluff are immediately dried in the

sun;

2. Hollow forms made from plastic clay are put on small shelves or in the

shade. The more plastic, the slower and more even the drying. The kulol strives for

an even temperature in the shop in the winter.

Early in the drying, when much moisture is given off, or if the drying takes

place too quickly, deformation and cracking may occur. The length of the drying

depends on the moisture content of the mass, the firmness of the mass and the

humidity and temperature of the air. Large items (0.7x1 .2 m), after long drying in the

shade, are placed in the sun. When drying pottery in the shop, the kulol opens

a ventilation window over the kiln. In Uzbekistan's climate, drying can take place

outside for 8-9 months per year. In the summer, 3-4 days are typically required,

and in the autumn - up to 1 0 days. Drying is complete if a rap on the side of the item

makes a clean sound and a scratch produces a light color. Hollow items are placed

side by side to dry, while flat items are dried on their sides edgewise.

Chapter - II. Traditions in the technique of ceramics production 41

Engobe ceramics

Engobe gilvatalash (Tajik astara) consists of white or colored clay covering

the basic color of the object. The kulol uses clay which produces a white object after

baking. The most appropriate material is plastic clay, i.e., fire-resistant ferriferous

clay. Kulols take into account the following: engobe should have uniform shrinkage

and settling, as well as high plasticity so it can be painted with a brush or simple

glaze. It should not come off the object after baking. Depending on the technical

conditions, various engobe masses are used. If the master plans to glaze the item

with lead glaze, he uses Gilbota for the engobe.

The engobe ingredients are prepared in the following way: fire-resistant clay

is placed in small lumps in a clay bowl and water is added; when it becomes soft,

it is broken up by hand. The thick soup is strained through a bag of coarse calico

to clean it of hard admixture (sand, reeds, roots, etc.). The white Gilbota engobe

covers the ceramic item. For painting, a gray-white background is needed. White

engobe is used like white paint, for painting items with a colored background.

Red-brown engobe is prepared from red ferriferous clay. Red clay is crumbled

into small pieces, dissolved in water and strained through a bag. Because

of its great plasticity pure red clay is not used because it comes off the object after

baking. Up to 40% white fire-resistant clay is added, and sometimes, to increase

fire-resistance, up to 20% quartz. If a completely red background is desired, then

up to 50% white engobe is added to prepared red engobe. Under a pure lead glaze,

red engobe gives a red-brown color, and even (depending on temperature

of baking) a dark brown color. Red engobe is also used as to paint ceramics.

Dark brown engobe is prepared from manganese oxide. Kulols grind it with

an iron mortar and dissolve it in water (1-2 hours). Then fire-resistant colored clay

is added (two tablespoons of manganese oxide, 1 0 tbsp jush and one tbsp Gilbota).

The shade of dark red or light brown depends on the amount of Gilbota added. Dark

brown and dark red engobe is used mostly in Gijduvan, Kattakurgan, Shakhrisabz,

Tashkent and Rishtan districts. Kulols use dark engobe and draw white, green, blue

and yellow ornaments. The drawing on dark brown engobe is commonly called

tagi siyoh among masters. Tashkent kulols use dark brown engobe as a foundation

under white engobe. If the item will be glazed with earth-alkali glaze, then

a complex engobe mixture is used - loi. It is prepared from quartz, quartz sand,

42 M. Rakhimov

fire-resistant clay and a small amount of binding substance in the following manner:

quartz and quartz sand is passed through a mill and mixed with ready white engobe

mass (ground quartz makes up 60-70% of the mix). The mass is again ground and

the paste ohor of boiled flour is added. The background color of the item, covered in

loi, after baking, comes out light-white, sometimes with a slight green shade. When

engobe and alkali glaze are used, the temperature of baking should be much higher

than with regular engobe made from Gilbota.

Before engobe treatment there is some preliminary work. The surface

is smoothed using a moist cloth and all defects removed. A special clay dazmol

loi is used (ordinary clay with 20-25% reed fluff). Dust is removed with minimum

contact of the hands, since spots can result which affect the engobe. Engobe

is applied in various ways. It is poured into a wide, deep dish. When making tall,

hollow items, the inner side is first treated with engobe. In the left hand, the master

holds the item, in the right - the ladle. The engobe is in the ladle and is poured

on the ¡tem. The master puts the ladle down and takes the item with both hands,

tilts it and turns it on one side, trying to make sure the engobe covers the

inner surface of the item in an even layer without any openings. Engobed items

are left a short time upside down to allow excess engobe to be removed. Then they

are turned upright quickly and the resulting flow of engobe evens out as it flows

down.

By the upper edge, with a quick, smooth movement of the fingers, the ex¬

cess engobe is wiped off on the outer part of the thin rim. This prevents the mixing

of color of the object or inner engobe cover (if it is colored) with the outside. After

covering the inner parts of several items (up to 20) with engobe, the outer surfaces

are treated. For this, the ¡tem is held by the tips of the fingers of the left hand on the

edge of the bottom and lowered by the neck, while the right hand ladles the engobe

mass and slowly a wide stream is poured on the outer sides of the item, while

it is evenly turned. This demands great skill, since the evenness of the engobe layer

depends on the speed of turning and the speed of ladling.

When applying engobe to flat forms, the method is slightly different. The

master, holding the item in his left hand and turning it, pours the engobe with his

right hand, at first on one half of the inner surface, then on the other. If it is neces¬

sary to cover the reverse side with engobe, then first that side is treated, then

the face. Simple household wares are only covered on the inner surface. Both sides

Chapter - II. Traditions in the technique of ceramics production 43

are treated on more artistic items. Small forms are treated simply: the master, hold¬

ing the item by the projection of the base, dips it in the mix for a few seconds. The

thickness of the engobe layer depends on how well it adheres to the object: the

thinner the layer of engobe, the better it holds to the surface of the item. A thick layer

requires that the composition of the engobe agree precisely with that of the object.

Thus the master tries to cover the surface of the item with a layer of medium thick¬

ness, no more than 0.5 mm.

Method of treatment of artistic ceramics

There are several traditional technical methods of ornamenting ceramics:

carving, gravure, stamping, and painting. At the end of the 19th century, unglazed

domestic ceramics, mainly large items for storing water, had carved ornaments:

zigzag lines - morpech, one straight line - hat, or two parallel lines - ku'shxat,on the neck and rim. An ornament was made on the raw ¡tem while it was still on the

wheel, with a wooden or metal comb taroq (Illustration 1, 20-23). Kulols always

have a selection of taroqs, including simple instruments with one tooth and others

with 8-10 teeth.

Since the appearance of large enamel and aluminum dishes, the production

of unglazed clay vessels with carved ornaments has declined. Some masters con¬

tinue to prepare them for exhibition purposes. Gravure techniques on ceramics -

chizma - were often used in the late 19th century. These require engobe treatment

and are more complex. The process is as follows: the formed ceramic item is dried,

then covered in dazmol loi. While smoothing the surface, the master removes reed

bits, roots, etc., and fills in the spots with dazmol loi. The item is then covered with

a layer of dark brown engobe and then a relatively thick layer of white engobe.

The contour of the ornament is visible through the engobe.

Then the kulol takes the ¡tem in his left hand and scratches along the orna¬

ment contour reaching to the border of the brown foundation. The master may add

a painting with engobe paints and glaze. Such an ornament is very clear: the colors

do not mix beyond the limits of the scratch lines, and the glaze that falls into the

deepened lines and settles in the foundation color gives the lines a dark brown

color, combining colorfully with the polychrome painting of the item. Sometimes

this results in an unusually original delicate painting. In these cases, the outline

of the scratched ornament does not correspond to the polychrome painting

44 M. Rakhimov

and appears as an additional feature. Basma ornamentation is found throughout

Uzbekistan. Basma uses special stamp qolips. The stamps are cut from pumpkin,

reed or wood, are made from clay and then baked. The teeth of different forms and

zigzag lines are cut into the stamps. The main ornaments are circles of various

sizes. There are complex 6-8 corner forms with fine ornaments of many-corner

figures for facing koshin majolica tiles. Such complex stamps are specially made

by an artist from wood or nakkosh.

The method of stamping ornaments is very simple, and is usually done by

apprentices. Four main colors are used: brown, red, green and yellow. Each color

uses a separate stamp; they are dipped in the paint and pressed on the clean

engobed surface of the item. If the ornament is complex and requires several

colors, then the stamps are applied in order of largest to smallest, so that the paints

do not touch and mix during firing.

The most popular method of ornamentation in Uzbekistan uses qalam

(brushes) with mineral paints. Under-glaze painting is traditional, in which paints

are applied on the unglazed engobed dry object, then covered with a transparent

glaze and fired. This kind of paint, protected by the glaze, is attractive and hardy.

The main underglaze paints are various kinds of white and colored potter's clay and

metal oxides (as mentioned above, most paints are used by kulols in the same way

as engobe).

Ceramic paints are prepared from local materials by the masters themselves.

Rarely is ordinary paint used alone. The method of preparation is the same in all

regions. First ceramic paints are finely ground, since practice shows that the finer

the dry paint, the more even and attractive the painting after baking. The kulol puts

the dry paint in the copper or iron mortar, adds a little water and grinds it with

a stone. The basic ingredient for paint used for ordinary engobe is white fire-resis¬

tant Gilbota clay. Sometimes it is replaced with fine dissolved lead glaze. To get the

right shade, different proportions of paint are used. Most kulols mix paints by sight,

so the shade varies slightly each time. Recipes for paint vary according to the

variety of local minerals. Kulols develop their own proportions. The most common

recipes are the following:

1 .White paint consists of fire-resistant white Gilbota clay, used in pure form

or with a small addition (up to 11%) of ground white sand;

Chapter - II. Traditions in the technique of ceramics production 45

2. Black paint consists of 15% Gilbota, 15% magil (manganese oxide), 8%

lojuvard (lapis lazuli) and 62% lead glaze;

3.Dark brown paint consists of Gilbota, manganese oxide (ferriferous red

clay) and jusha (see Illustration 1);

4.Yellow paint is made in several ways, mostly from ferrous oxide. Burnt iron

or iron bits are ground. The powder is mixed with Gilbota or lead glaze and water

in an iron mortar (see Illustration 1). Usually yellow paint is used on items covered

in Gilbota. Under the lead glaze the color of the paint comes out light yellow, under

alkali (ishkoro) glaze - dark yellow. Sometimes yellow paint is prepared from the

mineral malg'ash containing antimony. It is ground in a mortar, mixed in water and

added to ready paint in a proportion of 14%, along with Gilbota 29% and 56% readylead glaze;

5. Dark yellow paint is more complex (see Illustration 1);

6. Red brown paint consists of 60-70% jusha and 30-40% Gilbota. Some¬

times dark red paint consists of 16% jusha, 8% ferrous oxide and 76% lead glaze;

7.Green paint is prepared from copper oxide with lead glaze or Gilbota.

Sometimes the master reduces the amount of copper oxide to 8-9% and adds the

same amount of Gilbota. Then, the lead glaze must be at least 80-82%. There is not

an established proportion for green paint, and copper oxide is added by sight;

8.Blue paint consists of lapis lazuli, and its various shades depend on the

amount of basic coloring. A clear blue ultramarine color on a white object under lead

glaze requires pure lapis lazuli with a small addition of quartz (up to 14%). Darkblue requires other additives.

For painting items covered by alkali glaze of engobe loi, a narrow range ofcolors is used: blue, brown, red-brown and green. The master uses as little Gilbota

as possible, since the plastic colors on this engobe come off in layers on drying.

Thus quartz or quartz sand is used more. The content of colors used for paintingunder alkali glaze is as follows:

1 .blue paint: lojuvard (lapis lazuli) 21 %, quartz or white sand - 69%, Gilbota

-10%;

2.red-brown paint: copper oxide - 10%, quartz or white sand - 75%, Gilbota-15%

- 20%

-15%

3.brown paint: manganese oxide - 1 0%, quartz or white sand - 70%, Gilbota

4.green paint: chromium oxide - 20%, quartz or white sand - 65%, Gilbota

46 M. Rakhimov

Proportions vary according to this table:

Component Tashkent Samarkand Gijduvan Rishtan

Dark brown

Gilbota 50 60 40 50

Jusha 40 30 50 40

Mag'il

(manganeseoxide)

10 10 10 10

Yellow

Ferrous oxide 14 17 14 13

Lead glaze 86 83

Gilbota 86 86

Dark yellowFerrous oxide 8 11 16 14

Lead glaze 85 85

Gilbota 77 80

Green

Copper oxide 14 17 17 17

Lead glaze 86 83

Gilbota 83 83

Blue

Lapis lazuli 20 25 35 25

Gilbota 80 75 65 75

All these paints used on engobe loi, under a clean alkali glaze, give a smooth

and beautiful color. Moreover, they do not run. Thus the contours of the ornament

remain sharp. Underglaze ceramic paints, used under lead glaze, run rather easily.

When melted at 850-900 degrees Celsius, they give a smooth and bright color. But

at a higher temperature (925-980C), they run and mix. As the glaze and paint com¬

bine, the contour of the ornament disappears, resulting in a blurred appearance.

Practice shows that the degree of running depends not only on the content of the

paint and the temperature, but on the thickness of the glaze: the thicker the glaze,

the faster the paint mixes with the glaze and runs. Because of this, the ability to

glaze well is highly respected In masters and indicates a highly experienced mas-

Chapter - II. Traditions in the technique of ceramics production 47

ter. Paints should not be so liquid that they run on application. The master checks

the consistency of the paints carefully, and when they get too thick, he adds water

so that they flow from the brush and cover the item evenly. So that the paint has a

uniform color, the brush is dipped to the bottom of the holder and the paint is well

mixed. Specially made brushes hold large quantities of paint and apply it evenly

and thickly. For an item covered in engobe of Gilbota, a brush made of horsetail hair

is used, and for an ¡tem covered in engobe loi, a brush made from gopher tail hair.

The painting is done in a set procedure. First, larger support ornaments are

decorated, then secondary, finer ones. For flat forms with concentric compositions,

first the master marks the center and makes a circular line, separating the bottom

from the side. A painting with a qalam begins at the side of the ¡tem. The master first

marks the center of the bottom of the ¡tem, the large motifs are placed around, and

finally, the small details fill the free space. For chizma painting, first the ornament on

the side is scratched, then on the bottom. Further painting with a brush begins from

the side as well. The final operation in painting is the hat, edging the side along therim.

Glazing

Ceramics have a porous surface that absorbs moisture and dirt and is diffi¬

cult to clean. Varying humidity and temperatures also affect ceramics. To overcome

these defects and decrease the wear on the ceramics, they are covered with

a glass-like substance: glaze or sir. Glaze preserves the object from dirt and makes

it waterproof, as well as having a decorative function, providing a shiny finish.

A glaze can be transparent or opaque, with or without color. Uzbek masters mostly

use transparent glaze. However, in the early 20th century some masters used a dull

white glaze like enamel, qalaili sir (tin glaze).

One of the main qualities of glaze is the extent of melting on the surface.

A glaze should meld with the object at the moment of melting, chemically fusing with

it. If the glaze expands more than the object, then on cooling it contracts more than

the object. As a result, the surface acquires small hair-like fractures. If the object

contracts more than the glaze, the glaze will lift off the object in a sheet. The glaze

and object do not always have the same coefficient of expansion. The contents

of the glaze are thus very important. (To increase the expansion of the glaze, Rishtan

masters Mazoir and Mannon introduced alkali or fine glass, to decrease it, they

48 M. Rakhimov

added quartz. Tashkent kulols Ziiamukhamedov and Kamal Turabov added 2% white

clay to reduce the expansion. Sometimes cracks disappear after high and prolonged

firing.) Uzbek kulols used the following materials: lead, tin, potash, white sand and

quartz.

Lead, or rather lead oxide, has long been used for easy-melting glaze. Lead

ingots are melted at 400C. After 4 hours, with constant stirring with a metal spoon,

the liquid slowly turns into a gray-green powder. Lead oxide gives the glaze high

fusibility, shine, cleanliness and transparency. Quartz sand is a vital component

of various glazes. Sand of 97-8% Si02 and 2-3% Fe203, AI203 and CaO

has a light cream color or is almost colorless. For the simplest and cheapest glazes,

when the color is not important, simple uncleaned sand is used.

Sand with a high ferrous oxide content is not good for a clean coloring.

Depending on ferrous oxide content, the shade of the glaze may vary from gray-

yellow to red-brown. For a transparent glaze, kulols wash the sand, sometimes

after a preliminary firing. Quartz or white sand or a combination is used. Before use,

quartz is fired at 800-850C and then sorted into white and yellow, since only white

is used for glaze. It is also milled.

Tin is used for dull glazes (enamel). Mostly, tin alloy is used with up to 80%

lead and 20% tin, oxidized together on a small fire with lots of air circulation

to produce lead oxide. The resulting calcinate differs from regulus and lead,

not having oxidized, and is passed through a fine sieve. Potash is the main compo¬

nent of local alkali glaze. It is obtained by burning various roots which contain

up to 45% Na203; up to 5.94% K20, 2.25 MgO; 1 .9 Ca03; 0. 1 8 AI203; 5.34 Si02;

and 8.86% S03. Usually these plants are harvested in the autumn and used as

necessary. There are various methods of applying glaze depending on the materi¬

als. Earth alkali glazing has been widely used for centuries in Uzbekistan.

Chapter - II. Traditions in the technique of ceramics production 49

The following plants are used:

Place of ceramics

production

Plant Place of preparation ofplant

Rishtan Qirq bu 'g 'in or choroinak Near Chortak, Andijanprovince

Gijduvan Choroinak Near Karnab, SukaitaSamarkand Sari bu 'irak Jizak district, Samarkand

province

Kattakurgan Sari tirnoq Near Zirabulak

(Kattakurgan district)Shakhrisabz Choroinak Mug'ien and Kupkunogoch

mtns

Khorezm province Chog 'on, kirchop qoravarak Near Sultanat and

Tashauzk province(Turkmenistan)

Tashkent Qirq bu 'gin Near Mirzachul and

Saryagach

This glaze is labor intensive and complex. Alkali and 1/3 clean fired and

ground quartz or white sand is mixed with a small quantity of water. Uzbek masters

use several different alkali glazes:

Content I II III

Potash 70 75 60

Quartz 30 40

White sand 25

Small bricks are made from the materials and dried. For melting, these bricks

are mixed in clay dishes in the firebox of the kiln in a two-step raised place. The

alkali bricks are placed on the upper step. Melting at a high temperature (1000-

1100C) the potash flows to the lower step. The liquid is removed from the kiln,

cleaned, ground into fine pieces and milled. It is ready for use as a colorless glaze.

To get the right consistency of potash, some kulols, especially in Rishtan, do thistwice.

The prepared brick is mixed in the firebox at the last moment of firing and

removed when the kiln has cooled. On the next firing, the bricks are again placed

in the firebox in the dish for a final melting. Good potash, after the second melting,

takes on a green-bright color, like melted glass. The melt is then ground

50 M. Rakhimov

on a granite stone and rinsed in water and milled. In some cases, before milling,

a paste ohor, made from boiled flour (8 kg dry weight of glaze with 50 g flour),

is added. This ensures that the glaze does not crumble when put in the kiln. Potash

glaze melts well at 980-1 OOOC. During use, it is treated with engobe loi (50% Gilbota,

50% ground quartz).

Central Asian colored alkali glaze melts easily. Alkali, found in plant cinders,

gives a special soft shine, clarity and cleanness of tone. However, lead glaze

is more widely used. It is less labor-intensive, and the other method cannot be used

for painting rich and variegated designs of many colors, since the red, light yellow

and orange colors dissolve beneath it. Thus, for artistic ceramics, only green, brown,

turquoise-green and blue colors can be produced with it.

Lead glaze began to be used at the end of the 19th century. Modern ceram¬

ics always use some lead oxide. For example:

Content I II III

Lead oxide 75 60 70

Quartz 25 30

White sand 40

However, lead dust is harmful to the health. Furthermore, various products

containing acid (vinegar, sour shchi soup, sour milk), dissolve the lead when the

glaze has been insufficiently fired, which can lead to lead poisoning. This shortcom¬

ing has led masters to look for other glazes not using lead or using little lead. This

led to the so-called low-lead glaze, which contains 40% lead oxide, 25% potash

and 35% white sand. In 1 948-50 many ceramic artels began to order nontoxic glazes

from Russia, mainly from the Mineral artel in Leningrad, but at present ordering

ready glazes is not practiced.

The above-mentioned contents of glazes produce transparent glazes.

To make more beautiful objects, sometimes ordinary metallic ceramic dyes are added

to transparent colorless glaze. Pure cobalt and lapis lazuli color glazes blue. Cobalt

is a very strong agent, so even for bright tones, 1-2% pure cobalt oxide or a 4% salt

compound together with 20% lapis lazuli is enough. Rishtan masters often use the

following for blue: 80% potash, 18.5% quartz and 1 .5% cobalt. At 1000C the glaze

melts and gives a bright blue color.

Chapter - II. Traditions in the technique of ceramics production 51

Other colors are produced with different agents. Adding ferrous oxide gives

an orange-red and green-brown color to the glaze. Antinomy oxide gives a yellow

and yellow-orange shade. Antinomy is very sensitive and less than 1% is added,

with a yellow glaze consisting of: 70% lead, 29.5 - white sand, 0.5 - antinomy. This

glaze melts at 825-850C and gives a bright yellow color. Raising the temperature

changes the color towards green. At 900C the glaze is green-yellow. Introducing

3-5% manganese gives a violet-brown color. If 1 % cobalt oxide is further added, the

brown becomes black.

Dark glazes have the following content:

Brown glaze Black glazeLead 70 70

White sand 27 26

Manganese oxide 3 3

Cobalt 1

Brown lead glaze is especially bright when 10-1 5% potash or glass is added.

The melting temperature of brown glaze is 825-850C. On white engobe, it gives

a bright brown color, and without engobe - a dark-brown. Black glaze melts at 850C

and gives an even shiny black color on white engobe or without engobe, especially

on fired ceramics. Copper oxide is used for a light blue and green glaze. If there is

no potash in the lead glaze, copper oxide gives it a grass green color, and with

potash - a bright blue. Green glaze contains: 60% lead, 27% - white sand, and 3%

- copper oxide. The glaze melts easily, at a temperature of 850-900C. After firing,

the color of the glaze on Gilbota engobe is bright green, and on pottery without

engobe - steel blue. The blue glaze consists of 85% potash, 13% - quartz and 2%

- copper oxide. On white Gilbota engobe the glaze becomes dark red, without engobe- dark brown. The temperature of melting is 860-920C.

For artistic glazing formed from semi-faience mass (chinni), a master uses

dull white glaze. Rishtan masters use two recipes for dull white glaze:I II

Calcine (80% lead+ 20% metallic tin

60 70

Fired potash 15 10

Quartz 15

White sand 20

Glass 10

52 M. Rakhimov

White glaze has an advantage - it does not run. The well-known Rishtan

master Mazoir uses it for under-glaze painting (on raw glaze). During firing, the

colors are lost to some extent, giving it its characteristic softness. The painting

loses its sharpness of contour, but the decorative quality improves. The content of

the glaze demands careful preparation of materials. They should be carefully cleaned,

then ground to powder. Preserving the old traditions, some modern masters not

only fire potash twice to get a clean color or transparency, but fire other materials

such as quartz, sort them, and grind them before adding to the glaze. Transparency

or opacity depends on the cleanness of materials and correct contents.

Masters weigh each element then add a bit of water and mill it. Before

applying glaze, the clay item should be well cleaned and fired. It should be dried so

that its porous quality is preserved. It is then cleaned of dust, dirt and oily spots,

since glaze will not adhere well to a soiled surface, and the porosity is lost. When

liquid, the glaze is applied by pouring or dipping the item in the mixture (with engobe

application). A porous piece of pottery quickly absorbs the liquid and a layer

of glaze remains on the surface. The thickness of the layer depends on the porosity

of the object, the content of the glaze and the thickness of the walls of the item.

If the object is thin, then the glaze should be thick, the consistency of cream.

In practice, the spread of the glaze is observed by a trial dipping or pouring.

Firing ceramics

There are different methods developed for different types of ceramics.

For example, kilns for dishes and artistic, delicate items are much smaller than

for bricks and simple unglazed large items. The advantage of a small kiln is that the

firing is more easily regulated than in a large kiln. Besides, the temperature is more

even Kilns for baking ceramics are of two types: ku'zagar-xumdon - with a cupola

and a direct flame, used for tall hollow vessels (xum, ku'za, xurmacha, jugs, etc.)

and kosagar xumdon - cylindrical kilns with a reverse flame for flat dishes (lagan,

kosa, shokosa, etc.).

For small items such as piala, toys, small jugs, whistles, a miniature kiln, the

size of a tandir - piala xumdon is used. The first type is made of guval or raw brick.

It has two parts: the working chamber (Pic 6 - a) where the vessel Is placed and the

firebox (Pic 6 - b). There are 300-500 different sizes of kiln. Depending on the

size and use of the kiln there are different specifications for height, size of working

Chapter - II. Traditions in the technique of ceramics production 53

chamber and firebox. In a medium-size kiln (height 2.5-3.25 m), the furnace is usu¬

ally 2-2.5 m, the area of the working chamber 1 .8x2.1 m and the fire box - 1 .8x1 .7

m. Masters who build kilns consider that not less than 1/3 of the body of the kiln

should be underground, which increases the sturdiness and increases its working

life. Thus, the firebox is made 1-1.5 m lower than ground level, and the opening of

the firebox with access to the working chamber is at ground level. The heat reaches

the kiln through an opening 0.35x0.35 m in size. The firebox is separated from the

working chamber by a brick arch which has 12-16 openings for the flame to reach

the working chamber.

To transmit the heat evenly the diameter of the opening nearest the walls

should be greater than those near the center. The kiln has no pipes. Nonetheless,

the fire draws well even at high temperatures (800-950C) for baking simple un¬

glazed items. This is because of its cupola form (the kiln tapers to 0.3 m at the top).

To let the kiln smoke escape, in the center of the cupola there are several openings:

a central, rather large (0.25 m in diameter) and 3 small ones. They are placed some

distance from a small opening. They remain open during all firing and then are

smeared with clay to seal them. The chamber is loaded with items through a hole in

the wall on the right side on ground level. This is 1x0.6 m and after loading is cov¬

ered by a brick and smeared with clay and adobe. Only a small window remains

open for observing the heating of the kiln.

The kosagar-xumdon kiln is used for baking glazed flat ceramics. It is round

(made from raw brick and ordinary clay), with vertical walls and a flat top. Thefoundation of the kiln is 1.5-2.2 m in diameter and 2-3.4 m tall. The volume allows

for 180-200 dishes or 300-400 cups (Pic 7). In the center of the arch of the firebox

(g), there is a round opening 0.5 m in diameter for penetration of the flame into the

working chamber. In kilns with a wide chamber around this opening some distance

away there are 9 or 12 additional smaller, round openings. In the firebox of some

kilns, across from the firebox opening, there is a clay two-step rising oxr (d) or ladle

for melted potash. Smoke escapes the kiln through 4 chimneys (b).

They are 10-14 cm in diameter and are found in the walls of the chamber

equidistant from each other. Loading and unloading baked items is done through

a round opening of diameter 0.5-0.6 m in the center of the arch of the working

chamber and covered during baking by a clay lid (a) 4 cm thick.Master Usman

(Gijduvan), master Uzok (Rishtan) and master Ashur-togorapza (Samarkand)

54 M. Rakhimov

relate that at the end of the 1 9th century, for baking glazed items, a unique two-shelf

or two-level combined kiln was used. It was much larger than modern kilns and

could bake up to 1200 items. A shelf in it was made around the entire working

chamber midway in height. Its width was determined so that inside the kiln there

was sufficient place for the master to load and unload the items. In the lower part of

the chamber the larger items were placed.At that time in Rishtan, chinni was baked

in a special kiln qoziq xumdon. It resembled a kosagar xumdon but the working

Pic 6. Sketch of the jug firing kiln (kusagar humdon)

chamber was oval. Since chinni requires a double baking at high temperatures

(1 050-1 100C), the firebox and working chamber were smeared with a mixture of

fire-resistant clay and quartz sand. Firing in these kilns was unique. In the walls of

the chamber, at a certain distance from each other, there were openings of 8-10 cm

in depth, where pins 25-35 cm long and 5-6 cm thick were fixed. They were made of

Chapter - II. Traditions in the technique of ceramics production 55

Gilbota with quartz. The baked items were placed in these pins carefully with the

aim of keeping them clean. Thus at first, the items were placed on the upper row of

pins, then on the second lower row, etc. Masters explain this as follows: if you

began loading the kiln from the lower row, then sand and clay will crumble on lower

items as you load the upper rows, hence the top-down loading. This method of

baking was used until the late 19th century. From kiln remains in 11th century exca¬

vations in Peikent, M. M. Diakonov concluded that some masters baked their items

Pic7. Sketch of the bowl firing kiln (kosagar humdon)

on special clay rods fixed to the walls of the kiln chamber. Experienced masters

place the items, since it is vital that the working area be used fully, still leaving

enough space for free passage of the flame. Larger items are placed below and

smaller -above. This prevents deformation. Identical forms are placed side by side

in even piles in the form of a small pyramid. Large bowls are placed in a pile upside

56 M. Rakhimov

down, piled in layers. Everywhere in Uzbekistan, unglazed and partly glazed items

are placed together (when only the inside walls of the vessel and rim of the mouth

are covered with glaze). Large glazed vessels are placed right side up, and smaller

ones upside down. Depending on the free space between large items, other smaller

items of different size are placed there.

To fill the kiln, small items are sometimes placed on their sides. To strengthen

the rows between items, small pieces of clay or broken shards are placed. (When

glazed items are baked, small plates covered In glaze are placed on the shards.

The master determines the process of baking by observing them.) The placing

of items is as follows. First, the walls of the working chamber are carefully cleaned,

then the middle and lower shelves. All the sweepings are brushed out small open¬

ings in the lower shelf and the large middle opening into the firebox. Before placing

the items, the master and apprentices sort them by size: the large ones are se¬

lected and placed on the lower part of the working chamber, the smaller ones - on

the middle shelf.

When the sorting is done, the master, sitting in the middle shelf, begins to

place the items. The items are passed through the upper loading opening. If the

middle shelf is wide, then the items may be placed two or three deep. The larger

items are placed closer to the walls. The master makes sure that the edge of the

pile does not overreach the edge of the shelf, or else the direct action of the flame

could deform the item. First, along the walls, around the shelves, fired clay cylindri¬

cal blocks 8x10 or 10x16 cm are placed, and on these, up to the arch itself, piles of

vessels are placed upside down, separated by supports.

There can be up to 40 cups or 20 dishes in a pile. When the placing is

finished, on the middle shelf, the master begins to place items on the lower level

(raf) In the same order as on the lower shelf. So that the piles do not fall, the master

piles them with a slight tilt to the wall. To give the pile strength (important because

at high temperatures, the ceramic mass softens), shards of unglazed clay are placed

among the piles.

After the items are placed, the upper central opening of the kiln is covered

with a lid made of clay and adobe (thickness up to 5 cm). For free release of the

moist air from the kiln during the first period of baking, 3-4 small openings are left

between the lid and wall. They are used for observing the process of firing and

Chapter - II. Traditions in the technique of ceramics production 57

melting of glaze on small plates placed as trial items. Then 4 chimneys are opened

and the firing begins.The firing is the crucial moment. The master must ensure the

exact temperature, evenness of firing, its length, etc. Correct firing demands great

mastery. Archaeologists show that ancient masters had various methods of firing

which fell out of practice and were renewed from time to time. A strictly empirical

path was used to determine the best method. The complexity of the process con¬

nected it with magic in the past. For example in the kishlak Uba in Bukhara province

in the late 18th century, one master renewed a method to obtain terracotta vessels

with gray shards of pottery. Local potters began to call him Azim-devil. Modernmasters use different methods.

Using a specially constructed kiln and carefully regulating the process of

firing, a master can use an oxidizing flame, a restorative flame or a neutral one. The

type of fuel used is extremely important. In all regions except Tashkent, ceramic

kilns use brushwood or straw, willow chips or thorny iantak. Only certain masters

producing artistic items which require double baking use dry wood. At the Tashkent

ceramic factory No 2, wood and dried sawdust, sometimes mixed with tar, are used

for utility and glazed baking. Artistic ceramics are baked at the factory in special

capsules (clay boxes) to protect them from ash. As a result, the glaze is extra pure.The

first period of firing quritish requires that the flame be lower.

Then the temperature is increased. During the second period, a middle fire

temperature of 700-800C is reached. The third and final period is decisive. If ash

settles on the items during the first two periods, then the master does not wait for

the glaze to melt, and changes the intensity of the fire to destroy the impurities.

An even, constant fire is maintained so that the burning continues until the excess

oxygen is used up. The crack under the door of the firebox is widened for additional

access to air. However, the oxidizing baking should not be too long, since the iron

admixture will be destroyed during long firing, giving a rusty color and spoiling the

glaze. Thus, during the highest temperature firing and at the moment of melt,

a neutral flame is used.

The master determines when the baking is finished by sight. If the color

of the flame is even, and the items placed near the walls can be clearly seen to

have a shiny glaze, then the baking is considered complete. Some masters (Tashkent

master Turab Miraliev) determine when the baking is finished in another way. They

insert into one of the chimneys a thin bolt head 10-15 cm long. If it heats up and

58 M. Rakhimov

glows, then the baking is finished. If it smokes, the flame should be increased.

(During this process, no fuel is added or the bolt head will not heat well.) Other

masters check a trial item: if the glaze has melted and has the necessary tone, then

the baking is complete. At the end of baking, all 4 chimneys and the firebox are

closed. After 10-15 hours to speed up the cooling, some of the items are removed

and the lid is removed. Large glazed items should cool slowly so they are stronger

and have a better finish.

Chapter - III. Traditions in the artistic design of household ceramics 59

"^WiV^rWWW^Wf^ ^WfPW

liilittiitfiim

CHAPTER III

Traditions in the artistic design of household ceramics: general artis¬tic principles of design

Common artistic principles underlie the work of ceramists throughout

Uzbekistan. There are many common features. A certain type of vessel varies only

in the proportions of its parts and in its decoration. For example, there are many

common features of bowls. They are the same everywhere, with some exceptions

in Khorezm. Bowls for food and drink include the medium-size round dish (diameter

16-20 cm, height 7.5-9 cm) on a short ringed or solid saucer-base (diameter 8-10.5

cm; the solid saucer sometimes has a fluted groove 0.5 mm deep).

The walls of the cup rise sharply from the bottom, and slope more in the

middle, ending at the edge with a vertical rim, rounded or cut at a right angle -

which preserves the sharp rise - and becoming straight only at the very edge,

ending at the rim (Illustration II). Rarely, kulols produce bowls on wide round legs

with more upright sides. The vessels are always round, of varying depth (height 4.3-

6 cm) and of various sizes. The diameter of a mid-size vessel is 32-38 cm, large -

40-45 cm.

For stability the base is rather wide: for a mid-size vessel this is 1 5.5-23 cm,

for a large one, 23-26.5 cm (Illustration III). Bases can be ringed or solid, with

a sharp angle, and sometimes with ringed fluting on the bottom up to 1 cm. The

walls usually rise from the bottom sloping and bend up or out on the rim. There are

unique features of each region in size and form of decoration of the parts - the

bottom, sides, and base. Most items have a low ringed base, a solid wide bottom

and gently sloping sides. In others, the bottom is smaller, the sides rise more steeply,

and sometimes the second part of the sides becomes vertical. Khorezm bowls are

unique, with a rather high base, and with walls rising vertically from the bottom with

high sides (Illustration IV). Ceramic vessels of a vertical hollow form are also similar

in features. Pitchers for milk products and water jugs are the most common. Pitch¬

ers vary most in size. The height varies from 14.5-23 cm. The bottom is generally

60 M. Rakhimov

narrow; its diameter never exceeds 10 cm (narrow ones - 7.5 cm). The base is

always solid, sometimes appearing at a sharp angle slightly forward. Sharply rising

from the bottom, the walls narrow somewhat halfway or 1/3 of the way up, forming

a low, wide neck. (The diameter of the neck depends on the height of the vessel,

and varies from 13-20.5 cm.) Nearer to the edge, the neck again widens and ends

with a cornice rim (Illustration V). Water jugs are more varied. There are jugs with

wide bottoms, round, squat trunks and high necks. Sometimes jugs have narrow

bottoms and high slender trunks, smoothly widening in the upper part (3/5 of the

height), with a transition to a low neck.

There are various widths of neck, forms of the trunk and various means

of attaching the handle. The height of the jugs is standard - 28-30 cm. Most jugs

are made without a spout (Illustration VI). In additions to pitchers and water jugs,

many other forms of pottery are common. In all regions, masters produce squat,

wide-neck pots with low curved edges, with 3-4 flat handles through which branches

are threaded in order to hang the pots. Large vessels (xum) and tandirs are similar

in form, differing only in size.

Traditional small items include candleholders, lamps, and children's pots.

Even jugs shaped as birds and animals are similar across Uzbekistan, since mas¬

ters make them according to a pattern developed in Rishtan. All vessels, even simple

ones, are impressive for their beauty and delicate form. They have well thought-out

proportions for the parts: the height, volume, size of bottom, sides, neck, and handles,

etc. In the best work, ornamental decoration organically blends with the form of the

item, highlighting it. Perfection of form and artistic quality of decoration show the

high quality of local masters. The general tradition features of decoration through¬

out Uzbekistan are seen in ornamentation. Whatever the technique used - carving,

gravure or painting - the decoration remains ornamental.

Subject themes were already displaced by ornamentalism in the 13th cen¬

tury. From ancient times to the beginning of the 20th century, designs of a geomet¬

ric or plant character predominate. The latter were often reproduced in a symbolic

way. Sometimes items are painted with patterns showing conventional or naturalis¬

tic patterns of everyday things. Many patterns had symbolic meaning in ancient

times (i.e., knives, vessels, instruments, etc.). According to Islam, living things cannot

be shown. But Uzbek ceramists introduced stylized ¡mages of birds, snakes, fish

and sheep in children's toys and whistles. Some masters (Masali from Rishtan,

Chapter - III. Traditions in the artistic design of household ceramics 61

Rakhimov from Uba) produce whistles showing sheep in various poses. Sheep,

roosters, ducks and mythological animals are used not only for toys but for water

jugs. Often, instead of a full image of an animal, a master draws part of its body and

paws. Sheep horns are often shown. Birds are indicated by a pair of wings. A bull's

eye (chashmi gov) is often encountered. Most of the simplest patterns are geomet¬

ric and are found throughout Central Asia. There are straight or broken lines and

combinations of geometric figures - triangles, squares, rhombuses, etc (Illustration

VII). Sometimes straight lines or dashes are the basic pattern. Straight lines,

scratched or painted, decorate the sides and the necks of vessels (Illustration VII,

1-4).

Straight lines play a secondary role in ornamentation as well, separating

ornamental strips or highlighting patterns, both simple and complex. The very thin

line ilon izi, plong is like a snake trail. A pattern of three parallel zigzag lines oba

is used to decorate the edges of sides and the trunk and neck of jugs. This geomet¬

ric ornament is the most widespread one on large and small vessels. Most kulols

(Rishtan master Rustam and his father Abukasim and others) produce ilon izi (snake

track) ornaments without any instrument.

The ornament is usually drawn before removing a finished vessel from the

potter's wheel with a light touch of fingers. Sometimes several parallel lines

are made with one use of a comb. Such a pattern is called bir tortar (Illustration VII,

13-16). Stamps are also sometimes used (Illustration VIII). In addition to geometric

patterns, stamps are used to produce stylized plant patterns, including berries, fruit,

flowers (Illustration VIII, 19-26). Patterns produced with mineral paints on engobed

surfaces are especially rich. There are many variations of geometric and plant pat¬

terns, including narrow strips which highlight patterns on the sides. Many are thesame across Uzbekistan.

These are the geometric patterns used to decorate narrow ornamental strips

highlighting edges of vessels and separating large ornamental flat areas from each

other. They are very close in motif to carved ornaments (see Illustration VII, 1-10).

Most geometric and associated patterns have a name that describes their decora¬

tive character. Usually to the basic term su or oba, zanjara or xoshia (spout, chain,

bordure, frame) is added another word, identifying the symbol or name of the item

whose depiction is figurative in the pattern of the ornament. Thus, there are pat¬

terns such as obi raxmat, meaning blessed water, egar zandjira, meaning a bordure

62 M. Rakhimov

for a saddle (Illustration IX, 10, 20), ilmoq zandjira, i.e., chain of hooks.The most

common motifs for patterns across the country are rows of strips decorating ves¬

sels. They have geometric and plant motifs, and patterns showing stylized house¬

hold items. Many identical motifs across regions decorate the bottom of plates and

cups, and also the trunk of vessels such as ko'zagarlik. They are rather simple

variations of plant ornaments (leaves, fruit, branches, flowers) in ornamental com¬

positions (Illustration X, 1-12). In the middle of a plate (or bottom of a cup) there is

a rosette or circle, with stars and various colored concentric strips or fine details

(Illustration X, 13-16).

Ancient symbolic patterns which acted as protection are used as ornamen¬

tal motifs. Such is the spotted ornament called ola-bulo, and the human hand -

pandja. The latter was usually made on the bottom of a plate or large cup on

a green or brown colored background. These symbolic patterns were widely used

till the beginning of the 20th century, but are now only an anachronism. Motifs for

flat or hollow vessels are chosen taking into account the compositional construction

of the decoration, strictly according to tradition. All the basic compositional methods

found in ancient ceramics (8-1 1th centuries) are used almost without change today.

Uzbek masters value the ability to correctly construct the composition of

decorations, and know this art well. Such decoration always takes on a determinate

form. For each form there are traditional compositional solutions. The ornamenta¬

tion of cups of all sizes and uses is usually on the outside of the vessel; the inner

walls of cups are modestly covered: along the edge there is a narrow dark line

sometimes with an ornamental strip or mikhrab composition of plant shoots.

The ornamentation of plates is the opposite: they are richly decorated on

the inside, and the opposite side is never decorated, and often glazed only on the

upper edge. As with other forms of decorative art, ceramic compositions consist of

clearly outlined borders of the ornamental space using smooth one-colored lines or

patterned strips of various widths.

The master outlines the edge of the ornamental surface with a narrow one-

color strip. For each part of the form (the edge of the side, the central area of the

side, the spur linking the side to the bottom, the bottom) a specific composition is

used. The side of the vessel is often covered with an ornamental strip of varying

width. The pattern of strips is made of one, two or three rows. Usually the two

outside strips are narrow, and the middle Is wide. The pattern of outside narrow

Chapter - III. Traditions in the artistic design of household ceramics 63

strips is sometimes the same, sometimes different. Sometimes a vessel with a

wide bottom, which gradually becomes the gently sloping side, is covered com¬

pletely in a pattern without any ornamentation on the sides. The main decoration is

on the surface of the bottom. Here one finds various ornamental compositions. The

most simple is the composition of two poles - an ornamental background is divided

into 4 sections, in the middle of each is a large motif, the same for all - a circle,

flower, a branch, etc. It is common for large similar motifs to be placed freely on a

smooth one-color background or with fine patterns on top, covering the entire space.

This includes multi-petalled rosettes, flowering branches or flower medal¬

lions made up of several parts (3-4 flower motifs united in the center of the medal¬

lion). Compositions where the entire decorative surface consists of concentric or

radial lines on strips or sections with ornamental motifs inside are more complex.

For all compositions, the center of the vessel is often outlined by a clear pattern - a

circle, flower, or rosette. For ornamentation of vertical hollow vessels, various forms

of composition are used. Usually the ornament is made on the trunk or mouth in the

form of a ring strip. This is found on vessels decorated with carving and painting.

For some, the entire surface is covered in evenly applied mostly similar plant pat¬

terns. For many items, only the upper part of the trunk and neck are ornamented.

This system is used mainly for vessels decorated with carving. Colorful paint¬

ing on vessels has more regional variations than decorative ornamentation. Ceram¬

ics are the same in form and ornamentation throughout Uzbekistan, varying only in

color, which makes them seem quite different. Great variety to color is due to engobe,

which creates the background of the painting. Besides white and bright turquoise

backgrounds, masters use blue, yellow and brown. The varying colors have many

reasons: different tastes of consumers, different technological processes (different

mineral dyes, engobe, glaze).

Some dyes used for lead glaze are not suitable for painting under potash or

lead-tin glaze. Depending on the technique and glaze contents, the colors change.

For example, under a local alkali (potash) glaze, cobalt is bright blue, copper oxide

- turquoise, manganese - brown. Red and yellow are not possible, since they are

destroyed by the alkali glaze. Under lead transparent glaze, cobalt becomes dark

blue, copper oxide - green, manganese - dark brown, jo'sha (red ferr iferous clay)

- red, malg'ash (containing antinomy) - yellow. Where ceramic production uses

alkali and tin-lead glazes (Fergana and Khorezm), painting of ceramics is done on

light (white and turquoise) or green backgrounds with blue-green shades. In Bukhara

64 M. Rakhimov

and Tashkent provinces and some other places, where lead glaze is used, ceram¬

ics are painted with various backgrounds - white, orange, brown and blue. All

shades of deep orange-red, dark brown, dark violet and black are possible.

Rishtan

Rishtan ceramics were considered the best in Uzbekistan in the 19th-early

20th centuries. The fine pieces, their color, and their glaze were all of high artistic

quality: care and clarity of design and decoration, richness and agreement of color,

variety of ornaments. This popularity has lessened today, since the quality of Rishtan

ceramics has substantially declined. Simple household vessels for water and pro¬

duce, without glaze or only glazed on the inside, were decorated with carving or

stamped ornaments. The ornamentation was mostly on the neck and shoulders of

vessels, and was a very simple geometric motif, similar for all regions of Uzbekistan

(Illustration VII).

In Rishtan various artistic glazed vessels were produced. The most popular

were transparent glazed alkali oqpaz painted blue-light blue and green-light blue,

sometimes brown or brown-violet. These are very unusually painted. Fine, varied

patterns, mainly of plants, create complex, delicate compositions where the color is

strengthened by the high quality of potash glaze, resulting in a soft shine (Pic 8). On

a light background, mainly white, cream and green, the painting is made and cov¬

ered with lead glaze and semi-faience that masters called porcelain (chinni), or a

tin-lead glaze.

From the 1 8th -20th centuries, Rishtan kulols used only alkali glaze for simple

items, and for artistic items like chinni - tin-lead. Lead glaze is very old but was

rarely used in Rishtan in the later period, since the traditional green-light blue paint¬

ing under lead glaze loses its artistic qualities, resulting in a cold, harsh shine,

foreign to the bright harmony of the painting. Rishtan masters used lead glaze for

polychrome painting, where motifs were taken from Tashkent, Samarkand and

Gijduvan ceramics. Often painting was done on a light background. Some masters

made lojuvari. They were decorated using qalami (brushes) on blue engobe cov¬

ered in potash or lead-tin glaze. Lojuvari include cups of various sizes for liquids,

ornamental small dishes, and jugs, vases and inkpots. Tableware was painted

on a blue or brown background. Lead glaze has been widely used in Rishtan only

for the past 30 years to make bowls and jugs. Vessels with lead glaze have various

Chapter - III. Traditions in the artistic design of household ceramics 65

ornaments: homemade stamps are made from pumpkin, carrot, turnip, beets and

other vegetables and cut in round rosettes, with contours forming pointed lines,

dots or small leaves. Dried plant tops are also used. Recently in Rishtan, many

items have been produced with Tashkent ornamentation, with polychrome painting

and lead glaze. Some masters, copying those of Tashkent, have started producing

items covered in a double layer of engobe and decorated using combined tech¬

niques.

In Rishtan, a special technique of engobe on the surface of items, using

dark brown engobe for a brown background, was used. The outer side of the item

was coated with a fine layer of special black-brown engobe (30% white clay + 30%

manganese + 40% jusha). After drying the black-brown layer, the item is covered in

a layer of white engobe, which is painted using a special instrument, a fine metal

bar with a sharp end. The ornament is then scratched down to the black-brown

engobe foundation.

This manner of making a scratched painting on the item has the advantage

of deepening the contour lines highlighting the ornaments. Then when painting and

baking, the colors do not mix. The deep lines become borders of the ornaments.

When painting these tagi siyoh, all colors are used. The general background after

baking becomes white with a yellow shade, sometimes ocher (dark yellow), and the

deepened lines take on a dark brown color, making the ornament sharper. A lead

glaze is used. In the late 19th - early 20th centuries, Rishtan chinni were highly

praised.

The very name (China) showed the influence of Chinese ceramics, confirm¬

ing the stories of old Rishtan masters on the origins of the local traditions. The

recipe for producing chinni came from Kashgar in the 1830s brought by masters

Ja.NI and Kuri Abdudjamil. Materials also came from Kashgar. After the death of Ja.NI,

the source of raw materials was cut off, and Rishtan masters had to use local ones.

The Rishtan master Abdulla tested various local materials. When local materials

were sourced, the technique spread quickly. Abdulla took on the students Maiakob,

Sufi-Aziz, Mukhsin and Abdu-Vali, who studied for 7 years and became masters.

The assortment of chinni does not include large items. They were mostly delicate

forms with original painting, mostly in 3-4 colors: blue, green, brown and yellow

(other colors do not come out under tin-lead glaze). The ¡tem produced is gray-

white, like ordinary faience, or brown-yellow, like unengobed pottery. These objects

66 M. Rakhimov

are baked twice, first without glaze and then with painting and glaze at a higher

temperature. The forms of Rishtan cups, plates and pitchers are not of particularly

note. Water vessels are original, prepared from stamps with special forms. Both

sides are decorated with the same relief ornament. On the outside and inside they

are covered with a one-color glaze of turquoise, green or yellow color. When the

artistic design is of high quality, they often serve as decorative pieces in rooms.

Pic 8. Ceramic vessel (work of Rishtan masters)

There are many varieties of form among Rishtan stamped vessels. The old¬

est is a jug of oval form with applied convex linear ornamentation. Its form and color

of glaze (always glazed with a one-color yellow glaze) copies the Fergana copper-

stamped choydish or qumg'on. Figured jugs were also popular. These have round,

somewhat flattened trunks, supported on round, wide legs, with a high, narrow neck,

the upper part widening and forming a round head. The "head" ends in a triangular,

hanging crown. On one side there is a flat handle made of plastic clay, attached at

the lower end to the middle of the trunk, the upper end bent almost In a right angle

Chapter - III. Traditions in the artistic design of household ceramics 67

and attached to the middle of the neck. On the opposite side there is a high vertical

rising spout, rather wide where it is attached to the upper part of the trunk, then

slowly narrowing and bent at the very end. Often the end of the spout takes the form

of a stylized sheep's head.

Sometimes a miniature depiction of the head of a sheep sits on the bent tip

of the spout. Jugs covered in a one-color glaze with geometric applied ornaments in

the form of 5-, 6-, and 8-pointed stars are similar in form. Those with a somewhat

different neck and head are called oftoba soxtagi. The neck is rather narrow, and its

sides widen in the upper part, sharply bending outward, then rising vertically and

ending with an openwork sharp-pointed lid. (The vessel is dipped in water and the

water enters through the openwork lid.)

On the widened tip of the spout there is a miniature goat's head. Jugs called

obdasta o'rdak (duck) and obdasta shutr bo'yin (camel's neck) are very original.

Their trunks have a slightly extended (oval) form and are stylized symbols of birds

or camels. The trunk is mounted on a wide round leg. The neck-funnel for pouring

water in, and the spout, are on opposite sides of the oval trunk. The spout is in the

form of the head of a bird, and the short camel's neck ends in a large head with wide

nose. The funnel, narrow at the lower end, slowly widens upward and ends

in a hanging triangular crown. Slightly lower, it joins with the trunk with a small,

hanging tail. Between the nose and the funnel there is a long handle, making

the oval form of the trunk. At one end it is attached to the upper edge of the foot

of the nose, at the other - to the foot of the funnel. For durability of the handle,

where it is attached to the trunk, three additional clay tight spiral scrolls are glued,

which also act as ornaments. Such a scroll is placed between the funnel and the

tail. On both sides of the trunk to the nose there is a round plait. It is remarkably likean animal or bird.

In addition to the methods of artistic production of ceramics commonly used

throughout Uzbekistan, completely original compositions and motifs of ornamenta¬

tion can be found in Rishtan. The compositional solutions for ornaments on flat

dishes with wide bottoms which gradually slope upwards are interesting. Some¬

times in the center there is a small circle decorated with various plant patterns.

Surrounding its wide sides there are narrow strips on 8 trapezoidal divisions in

which plant and geometric patterns alternate. In others, on wide sides of the dish,

right angle divisions are made in the form of a cross, decorated with a modest plant

ornament, and between them are 4 large triangular figures, with their peaks on a

68 M. Rakhimov

contour line of the central circle. The surface of the triangles is divided by a thick

right angle network. Some dishes have ornaments which highlight their wide flat

bottom and the bent up narrow edge. The center has a large complex pattern

of plants, the narrow side - a simple geometric pattern. Sometimes they are not

ornamented at all, but have a one-color strip. Ordinary ceramic cups by Rishtan

masters are decorated only on the outside. Often the outside is decorated by

a wide ornamental strip, outlined above and below by narrow edging. For semi-

faience chinni cups, other more complex compositions are used, similar to Chinesedecorations.

Usually the basic ornamental theme is placed on the lower part of the sur¬

face of the outer walls. The upper part is painted with a wide ornamental strip.

However, Rishtan masters sometimes decorated cups differently: the basic orna¬

mental theme, occupying ? of the surface of the outside walls, is placed on the

upper part, and on the lower part of the walls, beginning from the bottom, a narrow

ornamental strip is painted. Rishtan ceramics have rich and varied ornamentation,

and are rightly considered the finest ceramics in Uzbekistan. The ornamentation of

Rishtan masters includes hundreds of patterns. The main patterns are of a plant

character. Geometric patterns do not play a leading role. Geometric and

'geometricized' patterns used by Rishtan masters are those used throughout

Uzbekistan. Rishtan masters use narrow shading strips on plates, cups and jugs

(Illustration XI). An uninterrupted straight line, outlining the ornamental field, is the

usual geometric ornament.

Sometimes it is wavy and complete, sometimes broken. It is called xat (Illus¬

tration VII, 1). A somewhat more complex geometric pattern is the taroq. It shows a

leaf or blade, and goes unbroken or broken around the vessel in separate parts. Its

simple appearance is two-colored, usually blue, green on white background, or in a

more complex variation in turquoise, blue, and brown. All masters use various col¬

ors, right angle and rhomboid forms. Inside the sections of the grid, fine ornamental

motifs are made - circles, points, fine rosettes. The following are popular geometric

patterns:

1 . noxoti xonagl (peas) on sides of dishes and outside edges of bowls

(Illustration XI, 8);

2. xonagl (room) on sides of dishes and edges of bowls;

3. xatti mehrobi (mikhrab)forside sand edges of bowls (Illustration XI, 1).

Richer and more varied motifs are used to decorate wide strips on the sides

Chapter - III. Traditions in the artistic design of household ceramics 69

of dishes and walls of cups (Illustration XII). They include geometric designs as

described above, but for the most part they are patterns of plants, often geometricized.

Variations on these are many, since each potter introduces some new detail. How¬

ever, some categorization is possible. For example anorgul (pomegranate flower)

is made on white, dark brown and blue-white backgrounds with dark blue, brown,

green, turquoise and white colors. This consists of rows of white or brown points

and circles surrounded by two half-circle leaves in the form of a horseshoe. Some¬

times between the points there are fine lines joining the points to the leaves (Illus¬

tration XIII, 17). It is very like a branch of a pomegranate, though where it originatedis hard to determine.

The drawings of the master usta Musa depict a pomegranate tree with fruit

and leaves on the branches. Sometimes instead of petals there are a series of

circles. Leaf motifs are common. In Illustration XVI, the motifs are reworked by

masters for decorating the center of dishes. For example, the fine plant patterns in

the center of dishes are full of large flower rosettes or flower and fruit. Complex

plant ornaments decorating the center of dishes or large areas of the walls of cups

- framed with strips usually in strict geometrical patterns - underline the painting

and richness of the ornamental themes.Thanks to the use of various elements,

otherwise identical ornamental compositions are distinguished from one another.

Plant patterns in particular can vary considerably (Illustration XV). Some elements

are used to make complex figures. For example, from separate petals a complex

rosette or star-like figure can be made (Illustration XV). Among pattern elements,

mostly plant, animal motifs or household motifs are also found (Illustration XVI).

Animal depictions (wings, of a rooster, hens, ducks, etc.) are used mostly by

kulol potters. They are used on dishes and rarely on other items. The ornament is

repeated 3-4, or rarely, 5 times. Some kulols say it is difficult to reproduce the depic¬

tion well. Usually they consider them the center of a composition called, appropri¬

ately, "pattern of rooster comb", "pattern of peacock", etc. Among the established

Rishtan ceramic patterns, along with the old elements found not only in ceramics

but in other forms of applied art (painting on wood, sewing, carving), we see ele¬

ments linking Rishtan with Chinese ceramics. Chinese influence is seen in patterns

of semi-faience chinni cups:

-Mehrobi qalam are made with the colors lapis lazuli and manganese

under a lead-tin glaze (Illustration XII, 17);

-Zanjirai parpashsha loia (chain-link with flower) is used on the re

70 M. Rakhimov

verse side of the edge of cups. The ornament is made with lapis lazuli, copper

oxide and manganese, with a potash glaze;-lslimi bayzai anqo (egg and bird) is

made with lapis lazuli and manganese under a potash glaze (the work of usta Bobo

Niiazmat in the mid-1 9th century) (Illustration XII, 21). Many patterns are used for

the center of dishes and cups. Rosettes and circles, as well as plant elements,

allow for complex compositions. Some drawings of circles are like a logo for mas¬

ters (Illustration XVII). Traditional plant patterns for the center of dishes are similar

to patterns of ornamental strips, but they are larger and clearer (Illustration XIII,

XV). The images of a teakettle and knife are widely used (Illustration XVIII). On

ancient ceramics, teakettles and knives are not found. Kulols date their appearance

to the late 18th century. They are usually found on dishes covered in alkali glaze,

less so on lead-glazed dishes. This shows that the introduction of such elements in

the ornamentation of ceramics occurred during a period of the wide use of potash

glaze, the late 19th century. In all districts of the Fergana valley, small copper teakettles were used to brew tea.

Copper jugs for washing - oftoba - were also popular. Copper vessels were

put on shelves and served as decorations. Thus they were incorporated into ce¬

ramic decorations. The knife, meanwhile, is a talisman for protecting man from evil

spirits. Sometimes even the sheath was depicted (Illustration XVIII, 14). Decora¬

tions were always made on the bottom of a dish. Either they were made on a light

free background or surrounded by plant ornaments achieving the effect of a still life

(Illustration XVIII, 18). Besides the use of old artistic traditions, masters incorporatethe methods of the best artists of Uzbekistan. Thus we find examples of the styles

from the schools of Gijduvan, Samarkand, and Uratiub. Modern Rishtan ceramists

are especially influenced by the Tashkent masters. The artistic school of Rishtan in

the 19th century included masters such as usta Abdulla, usta Bobo Bainiiazmatov,

M. Gaziev, Bobo-khodja, and usta Mirsaliev.

Among Rishtan masters at the beginning of the 20th century, we note U.

Artykbaev, M. Djabbarov, R. Kasymov, M. Magaipov, M. Miraliev, usta Mukhammad

Sydyki, usta Takhta-bacha, U. Shermatov and Kh: lunusov. Among contemporarymasters there are Musa Ismailov, Rustam Kasymov, Kurban Razykov, Uzok

Shirmatov and Khalmat Yunusov. Musa Ismailov knows Rishtan ornaments well.

He often puts the pomegranate fruit pattern and teapots at the center of his dishes.He uses cotton heads, wicker baskets, or mekhrob on the sides. Recently however,

he has moved beyond traditional decoration.

Chapter - III. Traditions in the artistic design of household ceramics 71

Gijduvan

Gijduvan ceramics are distinguished from those of other regions. They are

original in color and richness of ornament. More than 30 types of vessels and dishes

are made there, though recently with the appearance of enamel and metal dishes,

local demand has fallen. As a result, fewer types of traditional wares are made.

They make cups of all sizes, bowls for washing rice and sugar bowls. The tovoq,

a large plate, is especially fine, and produced in various sizes. The unglazed guppi

(butter churn), water jugs, and oftoba (jugs for ablutions) are also produced.

The village Uba (Vabkent district, Bukhara province) was famous in the early

20th century. Unglazed vessels of various sizes were produced there. The surfaces

were decorated with carved xarrosh. The products were delicate, attesting to the

high quality clay and high mastery. Some of the jugs were dark gray, called spring

vessels. These were produced as follows: before the final baking (when the kiln

was filled with jugs), wet fuel was added to the firebox and the chimneys closed.

This produced a chemical reaction and resulted in a gray matte shade. This was

started 80 years ago by usta Azim (nicknamed Shaitan or devil), who kept his methodsecret.

Gijduvan toys are unglazed. The whole village of Uba would work on them

in the winter. The figures include riders, birds, animals, and small clay vessels calledchurchurak. The collective farmer Khamra Rakhimova is a well-known master

today. She has a small ceramic kiln like a tandir (with a wide base and tapered

trunk) for 400 toys. The entire process, from preparing the clay, to forming the toys,

drying, baking and painting, is done by her. Sometimes her granddaughter and son,

usta Abdu-Kakhkhar help her.

Usta Fatkhulla also makes toys. There are 4 types: horse and rider, sheep

and lion cub. One-legged birds, hens, hoopoes, and camels are also made. They

are baked and then painted in 4 colors: red, green, yellow and dark brown. The

colors are mixed with apricot-based glue. Gujduvan masters used various glazes.

Before, alkali glazes were mostly used. Over the past century, lead glaze has been

used for ceramics and lead-tin glaze for semi-faience. Masters cover their products

with a thick layer of glaze, which produces a clarity and richness of underglaze

colors. Most underglaze ceramic colors blend during baking, so that the sharpness

of the design's contours is lost. This is because the thick layer of glaze allows the

72 M. Rakhimov

mixing of easy-melting underglaze colors. But the colors are rich and bright, and the

ornament - soft and attractive. Sometimes masters use underglaze ceramic colors

including lead glaze, making the color melt more easily. The colors even mix with

the glaze, going outside the contours of the design. This produces a strong shine in

the colors and a lustrous glaze, making the item artistic. The use of lead glaze

allows for a rich polychrome range of colors (Pic 9). Masters prefer to use brushes

for painting. Stamps are rarely used, only for large areas requiring openwork stars,

Pic 9. Gijduvan ceramic plate.

made with the help of g'o'zanak (a steppe plant). Green, dark yellow, brown, dark

blue, white, brick red colors are used. They are painted on colored engobe in a thick

layer. Sometimes the painting is combined with a scratched chizma pattern, made

with several strokes over the painting. The contours of the scratched design and

the contours of the pattern painted do not coincide. Identical patterns are evident in

the ancient pottery of Afrosiab and ancient Khorezm. The favorite method of paint¬

ing household vessels is by applying 2-3 layers of paint of one color. It was popular

to frame the painting with rows of white points - naxod - on a dark brown back¬

ground, or dark red points on a white background. This gave the painting an open¬

work effect, and a clarity to each element of the ornament. The brightness and

Chapter - III. Traditions in the artistic design of household ceramics 73

richness of the painting is highlighted by the dark background - dark brown or brick

red. Though the background is usually dark, it is sometimes white, yellow or blue.

With a light background, the painting is done in intensively clear colors. If covered

with white engobe, the inner part of cups has ornament on the bottom and on the

upper part usually in dark green on a brown background. The contrast of colors is

unique to Gijduvan (PidO). There are picturesque paintings with dark blue, dark

green, yellow and brown on dark red and white engobe. The artistic designs are

Pic 10. Gijduvan ceramic plate.

less varied than in Rishtan ceramics. The composition is fairly uniform. Mostly a

"classical" composition is used: the edge is shaded in one color or with an orna¬

mental strip, which is followed by a wide 3-row strip surrounding the walls. Some¬

times between this strip and the ornament on the bottom and lower sloping sides

there is an additional ornamental strip highlighting the line of the rising side. The

composition of the central field of the dish is limited in two ways: sometimes on the

free central field there are one or several large patterns, in others the central field is

divided into several symmetrically placed figures whose surface is ornamented with

fine patterns. Usually this is a mehrob strip fanning out from the center or two right-

angle sections in the form of ribbons, cross-shaped, intersecting in the center.

74 M. Rakhimov

Between them are 4 triangles with rounded corners. The outside walls

of cups are usually ornamented, sometimes the bottom and upper walls of the

inside. On the outside, there are usually concentric belts, with a narrower 3-row

edging strip along the edge, with the space of the walls from the bottom to the top

edge painted in wide ring ornaments. Occasionally the item is painted on the upper

edge. The lower part of the walls is rarely painted. Exceptions are cups with mehrob

figures on the lower part, ending in toothed edging. Ornamental patterns on oftoba

jugs also have several concentric strips.

Some figured jugs have the lower trunk ornamented from the bottom with

smooth vertical strips, the upper part of the body and spout being decorated with

various patterns, and the handle, neck and head with the openwork lid left

unornamented. There are various motifs, the leading ones being plant motifs. Geo¬

metric ornaments only outline the edge and separate ornamental sections from

each other. An independent geometric composition shows netting and fan-like strips.

In addition to the simple geometric patterns common throughout Uzbekistan, in

Gijduvan there are original geometric patterns made as narrow strips of various

bordure compositions (Illustration XIX).

Plant motifs are varied. There are 3 types: patterns for decorating narrow or

wide rows of ornamental strips and for covering the bottom of ceramic dishes and

cups. Variations of the first two groups differ little from similar patterns in other

regions. The most common continuous patterns - islimi - show conventional

images of various plants, including jiyda flowers and almonds (Illustration XX and

XXI). The motifs of the 3 groups are more varied. Many are not found in other

regions. There are large flowers, leaves and unusual rosettes, the main painting

in the central field of dishes, walls of cups and trunks of jugs (Illustration XXII-XXVI).

There are also many animal features, in patterns used to make both strips

and central areas. They are geometricized to such an extent that only their name

reveals their origin. They include snakes and snake trails (Illustration XIX, 10; Illus¬

tration XXI, 5-6). Less geometricized, but still abstract, are images of birds, insects

or parts of their bodies (Illustration XX, 5; Illustration XXI, 7-11, Illustration XXVIII, 1;

Illustration XXVI, 1-10, 12-14). Some elements of ornaments representing birds are

described by masters as plant motifs (Illustration XXVI, 1-10). Other elements

of ornaments are described as household items - candles, jewelry, baskets with

bread and others (Illustration XXII, 4-6, 10, 15-116, 18-19; Illustration XXVI, 10, 13).

Chapter - III. Traditions in the artistic design of household ceramics 75

Still other ornaments are taken from architecture; for example, mehrobi, islmili

koshin, madoxili (Illustration XIX, 22; Illustration XI, 2-4, 23, 24; Illustration XXIV,

12-16; Illustration XXV, 3, 12, 14, 19). The drawing of madoxili (entrance arch, door¬

way) is often found. Four madoxili patterns are usually made in a radius around

a small central rosette. The outer ends are joined with delightful tumed-up lines,

framing the overall pattern on the bottom of the dish, recalling a large decorative

rosette (Illustration XXI, 2, 4; Illustration XXIII, 8; Illustration XXIV, 12-16). When

mehrobi are used in the central strip of the dish they are beaten out in separate

sectors (6-8-12).

They are called mehrob, because they recall the niche by that name. Injsidefigures are made with fine plant ornaments. The central field's edge is painted with

light plant patterns. Traditional circle patterns are popular, depicting the moon, as

well as geometric figures or wheels (Illustration XXII, Illustration XXIII). Often in the

central field there are one or several large motifs (circles or flowers). The free space

between them is filled with fine plant patterns, underlining the decorative basis of

the large elements. Sometimes motifs in the form of circles, called parpashsha, are

made on one stalk and have the form of large flower rosettes.

Sometimes circles are made apart from each other. If the design of the

central field is full of round elements, then the sides are covered in fine geometric or

plant motifs. If the design on the bottom of the dish is free and between sections of

its elements there is much free space, then the edge of the dish is covered in larger

decorative ornaments. Modern Gijduvan masters are experts in local traditional or¬

naments. Out of separate elements, they can compose complex ornamental com¬

positions, producing in a slightly new form all the characteristic uniqueness of

Gijduvan ceramics. The most famous masters of the past include usta Akhundjan

(late 18th century), Bakidjon-chinnisoz, ustaAbdu-kadyr, ustaAbdu-Gafur, ustaAbdu-

Sattar, usta Rustambai, Abduaziz, Shamsutdin-kalta, Sharafutdin-chinnipaz and

others. After the 1917 revolution, such masters as usta Salim Rakhmatov, usta

Fatkhulla Sagdullaev, usta Mukhkhamedjan Sadykov, mulla Tash-Ergashev, usta

Kurban and usta Rustam worked in Gijdivan. At present in Gijdivan and Vabkent

and Uba, there are excellent masters, including Usman Umarov and the young

master Ibadulla Nazrullaev. Both paint with brushes very well, as well as carve

using the chizma technique. They also produce colored enamel and facing majolica

tiles for restoring architectural monuments.

76 M. Rakhimov

Shakhrisabz

Shakhrisabz ceramics are similar to Gijduvan, Samarkand and Kattakurgan

ceramics. They have the same form as in Gijduvan. Old traditional forms - flat and

deep cups, tovoq, with slightly raised sides, cups with legs and others are still pro¬

duced there. All household vessels are produced on a colored engobe background

with white, red, green, yellow and black colors, then covered in lead glaze. As for

the quality of glaze, modern production differs from old samples. Mid-1 9th century

ceramics were carefully glazed. Good ingredients and fire-resistance meant that all

paintings were separated by sharp lines, not blended during baking, making the

painting fine and clear. Glazes and paintings today are less durable, and the paint¬

ing under glaze blends and flows. Sometimes this defect is treated as an artisticeffect.

The clear, rich polychrome range of colors on yellow and red-brown back¬

grounds distinguishes Shakhrisabz ceramics from those of Gijduvan, where paint¬

ing is on a dark background. Some of the motifs are taken from other regions,

mainly Karshi, Gijduvan and Kattakurgan. Modern Shakhrisabz ornaments are very

large and decorative (Pic 11). They are made with brushes, and fine additional

patterns on the free space between large elements are stamped. This means the

ornament is uneven. Circles with serrated edges and stars, and circles made with

dots, are some of the patterns made with stamps. These designs are used on strips

on the edges as well as for the central field of the dish. The Qalami method is used

to make lines and geometric ornaments as well as motifs of plants.Shakhrisabzvessels have a limited set of ornamental motifs.

Many are from Gijduvan and other regions. All simple ornamental motifs are

treated originally by masters. The richness of bright colors and free painting uncon¬nected with canons of symmetry make Shakhrisabz ceramic painting very interest¬

ing. Patterns of ornamental strips on the sides are very simple (Illustration XXVII).

The following are unique: chashmi pandja (Picture number 5; Illustration XXVIII,

15), parpashsha (fly wing; Illustration XXVII, 23), chashmi ushtur (camel's eye; Il¬

lustration XXVI, 24), ko'r, ko'rshapalak (bat; Illustration XXVI, 26). Unique patterns

were also used to decorate the walls of cups and the middle of dishes (Illustration

XXVIII), usually of a plant character. Usually the ornamental composition combines

large, abstract elements (rosettes and circles) with flowers and leaves (Illustration

XXIX and XXX). Masters preferred to decorate dishes with large expressive pat-

Chapter - III. Traditions in the artistic design of household ceramics 77

terns, with free figures between them. Segul (three flowers; Illustration XXX, 6) and

to'petti (apple falling from a tree; Illustration XXX, 8) paintings are the most popular.Motifs for paintings come from Gijduvan ornaments. Master Khazratkul Abdunazarov

introduced Gijduvan ornaments in his work in 1868. He made them on a white

engobed red ferriferous clay with lapis lazuli, copper oxide, or a bright yellow back¬ground with green and brown colors. Circles are found in all work. The inside is

decorated with various fine details. Jugs use chorbarg (4 leaves) with the circlesometimes serrated and with fine rosettes in the middle. At a certain distance around

Pic 11. Decorated ceramic vase (Shakhrisabz masters)

the circle, fine medallions or rosettes are placed symmetrically, their contours high¬lighted with dots made with green, dark brown, and yellow colors on pale yellowbackground (Pic 12). The zulfak (pendant) is also a popular additional element in

any composition (Illustration XXXI). Along with geometric and plant ornaments, we

find animal images. These are the strongly geometricized patterns that are found

throughout Uzbekistan - snake tracks, snake edging, mehrobi morak (arches withsnakes), pairs of snakes and others (Illustration XVIII, 10-12; Illustration XXVII, 3, 7,

21, 22, 26; Illustration XXX, 1, 9). Kulols have preserved the traditions of ceramic

78 M. Rakhimov

art. Late 19th-early 20th century masters usta Khatam Kadyrov, usta Rustam and

usta Khazratkul Igamberdyev had many students. Some still work today. Amongmodern masters are Giiasutdin Kudratov and usta Abdukarim Khazratkulov. Usta

Abdukarim studied with his father Khazratkul Abdunazarov. He has made dozens of

interesting forms and original ornaments. He mostly uses qalami, though he knows

the scratching technique of drawing on the first layer of dark engobe. He uses this

on large dishes (60 cm in diameter). His work is deeply national and traditional,

Pic 12. Shakhrisabz ceramic plate.

but also original. He constantly reworks traditional motifs. Even using stamps forcontours of circles and medallions, he tries to vary the small elements of the design

of the inner figures. There are completely new patterns in his work though they are

always based on traditional methods. Usta Abdukarim produces original ornamen¬

tal compositions, continuing the tradition of his father, who instructed his students to

vary their ornamentation. Khazratkul Abdunazarov taught that "the artistic tasksshould be solved by the potter's wheel and your own head". An example of his work

is in Drawing 12. Usta Abdukarim Khazratkulov trained several young masters and

they work in the Promkombinat.

Chapter - III. Traditions in the artistic design of household ceramics 79

Samarkand

Ceramics in Samarkand go back more than a thousand years. However, theancient methods are almost all lost. Modern Samarkand ceramics dishes are differ¬

ent from even the work of the mid-1 9th century. This is not surprising, since aes¬

thetic tastes and production methods have changed. Alkali glazes have gone out of

use, and new dyes have resulted in new colors.Ceramics in Samarkand are similar

to those of the Bukhara region, especially Shakhrisabz. They are covered by lead

glaze and painted by brush with mostly large plant patterns on a bright background.

Only dishes and cups are produced. The dishes are well known as iaku nim boiak

tovoq and faham tovoq. They are deep with flat, thick sides. Small dishes are even

deeper. In late 19th - early 20th centuries a "Karshi dish" with vertical sides was

produced. Cups with straight vertical sides and jugs were also called Karshi (Illus¬

tration VI, 3).

Masters rarely use qalami (brushes), preferring to scratch the design.

Engobed items are unusual, since masters glaze vessels with lead glaze of a green

color, with the graphic design underneath, scratched on a dark brown foundation,

lightened by dark green lines. In late 19th-early 20th centuries, along with lead

glaze, alkali glaze with underglaze painting was produced with blue or green colors,

similar to the style in Rishtan. Today, masters use an organic range of colors: green,

yellow, brown and sometimes dark blue. The painting is poorer. We do not find birds

or animals. Mostly plant ornamentation and geometricized elements are used. Mas¬

ters use large decorative motifs of classical composition: the sides of dishes and

walls of cups have ornamental strips of various widths, the bottom of dishes and

cups have complex paintings, combining stylized plant patterns or patterns with 6-

pointed and 8-pointed stars and circles.

For narrow ornamental rows, ceramists use geometrical patterns similar to

those used elsewhere in Uzbekistan, and islimi (shoots) (Illustration XXXII). Even

the simplest motifs are never the same, especially islimi. These narrow strips are

called by different names: straight lines are tanob, zigzags - morak and serrated

edges - du kungura and others; Illustration XXXII, 2,3). Sides of dishes and walls of

cups have a wide variety of patterns (Illustration XXXIII). Most of them are plant¬

like, stylized according to the principle pars pro toto, though they are fewer than in

Gijduvan. In addition to traditional motifs (wide geometric networks, leaves and

flowering shoots, stars and rosettes, and fine plant ornaments), we see original

80 M. Rakhimov

ornamental compositions - panjagul (5 flowers; Illustration XXXIII, 16, 17), the whip

handle, nightingale eye and others (Illustration XXXIII, 15, 18). For the central field

of a dish and inside cups there are 3 groups of motifs: 1 .different forms of rosettes

and circles; 2. large patterns of plants surrounded by fine leaves; 3.patterns taken

from architectural details of historical monuments of Samarkand. The first group

is the most important. It includes stylized laurels of flowers en face (Illustration

XXXIV). In the center of some circles, there are two lines dividing the circle into 4

parts, with each section having the same fine ornamental elements (Illustration

Pic 13. Samarkand ceramic plate

XXXV), while in the center of others, there are fine rosettes and medallions and

completely original motifs of a plant or animal character. Some circles use the mo¬

tifs of traditional Uzbek needlework (Pic 13).

Plant motifs include many traditional patterns, interpreted uniquely (Illustra¬

tion XXXVI, 6, 10-13, 17), with some completely unique in ceramic patterns (Illus¬

tration XXXIV, 13; Illustration XXXVI, 14, 16, 8, 5). The patterns in the third group

come from facing tiles: koshini, mehrobi, madoxili (Illustration XXXV, 7-9). Koshini

has 5-6 variations. Usually they are on the bottom of a dish in the form of separate

medallions, in the form of a circle, oval or 5-6 pointed star, with a small rhombus

(diamond), dots and half-circles Inside (Illustration XXXV, 7). Madoxili are 4- or 6-

Chapter - III. Traditions in the artistic design of household ceramics 81

pointed medallions surrounding a central rosette (Illustration XXXV, 8, 9; Illustration

XXXVI, 2). Mehrobi are on the bottom of a dish surrounding a series of adjoining

arches, with their tops reaching the sides of the dish. Inside this ornament there is a

fine plant pattern. Mehrobi and madoxili have much in common with such designs

in Gijduvan ceramics. In the 19th century, usta Abdugafur and usta Fazyl were well-

known for their chinni faience using traditional patterns of that time (a branch on the

side and several circles in the central field). Some outstanding masters in the early

20th century were usta Abduvakhid, usta Guliam, usta Kadyr-kuzagar, usta Mikhamed

Turdyev, usta Turakul Ashurov, usta Karabaev and usta Tair. Modern ceramists

include Azimurat Khodjaev, and Umarkula Djurakulov. The former works in archi¬

tectural restoration, but also makes pottery using architectural ornaments.

Usta Umarkul Djurakulov is one of the most famous ceramists of Uzbekistan,

a people's artist of the UzSSR. He is a master of both form and artistic design, using

both stamps and free technique. He has a great passion for ceramics and likes to

experiment. In his youth he made traditional items, covered in green lead glaze and

painted with stylized plant patterns and circles. In his mature work he rarely uses

the traditional painting of the late 19th - early 20th centuries. His work of the past

30 years is very original and colorful. Of particular interest are his figured jugs and

toys in the style of old whistles.

Kattakurgan

In the 19th century in Kattakurgan various ceramic vessels were pro¬

duced: unglazed household ceramics and artistic ceramics with underglaze paint¬

ing. Ceramics were well established, and goods reached the Samarkand market.

Masters from Gijduvan came here to work in the summer. This of course affected

the artistic nature of ceramics. Sometimes it is difficult to distinguish Gijduvan and

Kattakurgan ceramics. In the 19th-early 20th centuries, masters used qalami. As in

Gijduvan, they painted on a dark brown or dark red background, less often on yel¬

low and green. Most Kattakurgan painting of vessels used large, colorful polychrome

painting with contrasting combinations. In the mid-1 9th century, along with vessels

painted in bright polychrome painting under lead glaze, Rishtan-type ceramics were

produced, i.e., covered in potash glaze, painted with blue-green and turquoise

colors, with fine plant ornaments. By the end of the 19th century this style had

ended in Kattakurgan. The composition of modern ceramics is fairly narrow in range:

the central pattern is always framed with an ornamental strip of several rows.

82 M. Rakhimov

The motifs of narrow rows or ornamental strips (usually geometric) are similar to

those of other regions (Illustration XXXVII). Wide strips have unique patterns. Some

motifs, judging by their names, are depictions of plants, household items, birds and

animals. But they are so stylized that their genuine origin is hard to determine (Illus¬

tration XXXVII, 4, 9, 10). Many patterns come from architecture, including koshini,

mehrobi, madoxil, nova and others (Illustration XXXVII, 5, 6, 8, 9; Illustration XXXVIII,

1 , 3). They are all traditional to Uzbekistan and include islimi plant shoots. There

are original strips such as gajak, panjara, bulut, kariz (Illustration XXXVIII, 5, 6). The

central field of Kattakurgan dishes contains various ornaments. Rishtan-type

patterns, mostly plant, are used. Sometimes they are combined with simple

geometricized patterns (Illustration XXIX). Polychrome painted ornaments under

lead glaze consist of unusual circles (Illustration XL).

The names of these various circles are interesting. Some are called sun,

others - flower, wheel, fan, and so on. Often there are circles in ornaments of

Kattakurgan and Samarkand ceramics which attest to a general stylistic line de¬

rived from needlework. Even in patterns taken from Gijduvan, Kattakurgan masters

introduce separate elements from the folk needlework of Samarkand districts - for

example, a leaf ring surrounding the basic central painting of a ceremonial knife.

Kattakurgan masters have long had a well-deserved reputation. In the mid-

19th century Kattakurgan masters produced turquoise-green dishes under potash

glaze. Usta Bobo-Nazr and usta Turda were famous for these. Brightly colored

items with lead glaze from the 19th century were produced by usta Khidoiat, usta

Ibragim-Bobo, usta Khsan-Bobo and others. In the early 20th century the sonof usta Khidoiat usta Mukhitdin was famous. Today usta Nazrulla Shukurov and

usta Asadulla Khudainazarov work in the traditional style. They produce very inter¬

esting dishes in color and ornament that are sold in Samarkand and surrounding

districts. Another excellent master in the Samarkand region is usta Arifdjon in Jizzak.

Tashkent

19th century ceramics in Tashkent were unknown in other areas of

Uzbekistan. The products were used locally and were not noted for their high artis¬

tic qualities. A few masters produced high quality chinni in the mid-1 9th century, but

by the end of the 19th century, ceramic production in Tashkent dropped sharply in

quality and quantity due to the rise of factory production from central Russia. Still,

Chapter - III. Traditions in the artistic design of household ceramics 83

Tashkent potters in the early 20th century produced household items similar to those

of other regions of Uzbekistan, including dishes and tall hollow vessels like pitch¬

ers. Dishes were in three sizes - large, medium and small. These simple household

vessels were not painted. Modest carved ornaments were made only on the upper

part of vessels, their necks and upper trunks. Crockery was painted and glazed.

Painters used bosma, chizma, and qalami (stamps, engobe and brushes).

Cheap tableware was ornamented with stamped drawings: circles, stars

and small wheels. Large dishes for plov and cups had more complex painting with

brushes or combined methods with scratching of contours of patterns before the

first dark layer of engobe with painting was applied with brushes. In the mid-1 9th

century, lead glaze was widely used. Potash glaze was used only for chinni and

Rishtan-type painting (turquoise and blue-green painting on a white background).

By the end of the 19th - beginning of the 20th centuries, lead glazed items fell into

two groups according to color. Older items, as with Samarkand and Kattakurgan

items, were painted by brush on yellow engobe with green, yellow and brown and a

bit of red. Transparent yellow glaze strengthened the yellow color of the engobe

and gave the item a golden shine (Pic 14).

The second group was more polychromatic. Light blue, turquoise, blue and

orange were added. The painting on a white background was covered by a clear

transparent glaze. Though the range of colors was richer, the painting was not noted

for its high quality. The technique was more important, based on a combination of

graphic and painting principles. Contours of all elements of the design were scratched

to the brown foundation, then the painting was made using traditional methods. The

local colors and sharp contrasting colors were preserved. The sharp graphic nature

and presence of dark tones give the painting a severity and dryness. Using a com¬

bined method of painting, the master concentrated on the creation of a more com¬

plex and rich ornament.

The compositional structure of the painting is not limited to traditional pat¬

terns, where the leading ornamental theme is highlighted by a single row or multi-

row ornamental strip, as on older items. Crockery painted in combined methods

has different types of composition. Some dishes have no ornamental strip on the

edge (the edge is shaded by a narrow one-color edging), and others have a wide

ornamental belt on the side and a completely free, smooth bottom, sometimes fin¬

ished in one color or with several fine plant ornaments. The ornamental pattern

84 M. Rakhimov

of Tashkent crockery is varied. Crockery decorated with stamped patterns or painted

by brush is decorated with simple patterns found in other regions. There are pat¬

terns using stamps (Illustration VIII) and geometricized plant ornaments for making

narrow rows of strips and for painting the central field (Illustration VII, IX, X). For

painting with brushes without scratching contours, traditional designs were used.

Pic 14. Ceramic plate work of Tashkent masters.

Only a few dishes from the late 19th century have original ornamentation. Original

patterns include plant darakht, where the surface of the dish is painted without

traditional separation of the sides with ornamental strips , with a narrow one-color

strip along the edge. The interesting "early spring" composition is widely used. The

whole area of the surface is covered with green grass shoots with yellow ones

interspersed. This was used for bowls and jugs. For painting using a combined

method (engobe and brushes) masters used all the traditional patterns and many

new, free motifs, sometimes creating by them by reworking the old motifs with orna¬

ments from other applied arts and Chinese porcelain. Tashkent crockery of late

Chapter - III. Traditions in the artistic design of household ceramics 85

19th-early 20th centuries made extensive use of geometric patterns (Illustration

XLI). Besides the simplest geometric figures, there are complex combinations, many

involving architectural decor. Madoxil, mehrob and koshin became stylized and com¬

plex (Illustration XLII, 11). Edging ornaments - qurok - took several forms. The

simplest were made on the sides of dishes and other items. The edging is made

with horizontal and vertical lines on rows of squares filled in like a chessboard with

various colors (Pic15). Each potter made his own additions and changes, although

the basic scheme was the same. This is an old pattern and is found not only

in ceramics. In form it is close to the simplest madoxil but uses various colors.

Piel5. Venations of quroq ornament (Tashkent masters)

The graphic principle of painting, allowing the finest patterns to be made, is used to

create completely new variations from old simple ornamental motifs. Some edgingpatterns use this principle, with variations on motifs tortar, gajak, do'la zanjira (Illus¬

tration XLI), as do some motifs in the central field. The circle plays a major role inornamentation (Illustration XLIII).

The sun, potter's wheel, wheel and others are found in old pottery painted

by brush. These are important in engobe with underglaze painting. Pargari (circu¬

lar) is the name of one composition showing circles in strips on the sides of dishes

and cups and around the trunk of jugs, as well as on the central field. On sides of

dishes, circles are drawn both separately and touching each other. Often large circles

86 M. Rakhimov

are painted on sides so that a part of them overlap the borders and fill the central

part of the dish. Sometimes circles are on the sides and centers of dishes. Edging

consists of a row of circles, sometimes overlapping, making an unusual chain fram¬

ing the entire side of the dish.The free space inside is filled with fine plant orna¬

ments made with engobe of green, blue and red. In the center is a design made up

of several circles overlapping and forming a magnificent rosette.

In the free spaces inside the circles are fine plant patterns. The edging on

the sides are separated from the painting in the central field by two parallel lines,

shading the composition on the sides. In late 19th-early 20th century ceramics,

plant patterns are sometimes used on the background between circles. In modern

work, the background is rarely empty, as elements of plant ornamentation are more

complex. Sometimes they form a thick network of leaves, flowers, and bindweed

runners (Illustration XLIV). Fruit and flowers are important. They form the focus of

compositions around which secondary patterns are made (Illustration XLV).

Each pattern has its own designation, revealing its origin. Besides the pome¬

granate and almond, ceramists use pepper, apple blossoms, peaches, pistachio,

sedge, grass, enchanting flower (tilsim gul), night beauty (namoshomgul) and oth¬ers. Though the name stays the same, variations are common. One potter may

make it more naturalistic, another- more stylized (Illustration XLVI). Plant patterns

are varied: simple separate ornamental elements or curled, twisting branches -

islimi, covering the central field and edging (Illustration XLVII). There are variations

based on Kashgar and Chinese decorations.

The composition is formed of strips around the circumference of the dish. Inthe center in a circle there is a small round medallion and on the outside of the

circle, several madoxil. Together with the central pattern, a wheel of madoxil some¬

times creates an 8-pointed openwork rosette, which does not fill the whole area.

The side of the dish apart from the central section has narrow edging shading the

edge, consisting of two parallel lines.

The painting on the sides is rich and full. Sometimes it consists of 6 complex

but identical figures, separated from each other by fine braches, as if dividing thearea of the sides into 6 sections. In the center of each figure there is a rosette of fine

flowers, symmetrically placed around the center; in the corners of the medallionsare 4 motifs made of clouds. The edge of the dish is decorated by a narrow strip

Chapter - III. Traditions in the artistic design of household ceramics 87

using madoxil. The overall character of the pattern, like the name of the composi¬

tion (Kashkar, Chinese) attests to the fact that it was created based on Chinese

crockery which came via Kashgar and was popular in Tashkent. This influence

explains the use of painting using scratched contours as well.

The old generation of Tashkent kulols preserves the names of well-known

masters from the early 19th century, including usta Karim, usta Babanazar, usta

Shakirmat, usta Masaidkhodja-ishon, and usta Satvaldi. Masters in the early 20th

century included the Miraliev brothers (Mukhammad and Turap), T. Karimov, Alim-

ata Arifkhanov, and Tashpulat Nurmukhammedov. Many of their students now work

in ceramics enterprises in Tashkent. Modern masters include the senior kulol of

Uzbekistan Tursunbai Talibov, M. Mirsultanov, Y. Ziiamukhamedov, M. Rakhimov, Y.

lakhev, Mirpulat and Kamal Turapov, A. Rakhmatov and A. Aminov.

Khiva and Khorezm province

The isolation of Khorezm created the conditions for preserving local ce¬

ramic traditions which had accumulated over centuries. Ceramics here are unique

in form and decoration. High, fine butter churns, basins and jugs have particularly

ideal proportions. Only in Khorezm province do you see such original deep dishes

and cups with vertical sides on round rather high stands (Illustration IV).

Khorezm crockery from the late 19th-early 20th centuries differs not only

in its forms, but in other artistic features - color and pattern. Coloring is unusual,

rather severe. Almost all artistic ceramic crockery is dark green and turquoise, with

some use of white and blue. This coloring was determined by the technical glazing.

Until the 1920s, masters used only potash glaze, under which only green and

turquoise, blue and brown colors held up after baking. In the 1920s lead glaze

began to be used, allowing more colors. Kulols began painting crockery yellow,orange and red.

As a result, ceramics here changed completely. Besides items painted in

dark, even gloomy tones, crockery painted in sparkling, sometimes yellow lead

glaze was colored yellow, orange, and light brown on a white background, or blue,

green and brown on a light blue or turquoise background (Pic 16). In coloring, this

new type of ceramics differs little from that in modern Samarkand, Kattakurgan and

88 M. Rakhimov

Rishtan. Painting on light backgrounds became the favorite method of Khorezm

kulols. At present masters paint items in the traditional blue green range, but on a

light background- white, light blue or turquoise, and not with a green glaze as

before.Ornamental designs are still original, as are the systems of composition on

the surface of vessels. The most popular compositional method of traditional Khorezm

painting is the formation of an ornamental pattern with parallel concentric strips of

various widths, with fine motifs, mostly geometric. When the ornament is completed

Pic 16. Ceramic bowl badiya Khiva masters

using concentric strips on the flat surface of a dish or cup, in the center a rosette or

circle is usually made, with a simple geometric pattern in the middle. To decorate

flat items various compositions are used, though edging the frames of the basic

ornamental themes in the central field, common throughout Uzbekistan, is not es¬

sential in Khorezm. In some items, the flat edge is not decorated.

In the free central field there may be a rosette, circle, large spiral or simple

plant design. In the center there may be a small rosette or circle surrounded by a

strip on which narrow ornamental ribbons are drawn. The crown of the sides is

smooth .Painting by old Khorezm masters was done by brush and stamping. Carved

or scratched patterns (xarrowh and chizma) were used only on unglazed items.

Chapter - III. Traditions in the artistic design of household ceramics 89

Starting in the early 20th century, tableware began to be ornamented using bothbrush and engobe for graphic designs on a light background. If the central field is

painted by brush, the edges of the dish, always distinguished from the central field

by its color (on a light background of the central field, the edges are dark or vice

versa), are ornamented with a graphic pattern. Ornamentation is generally simple

Pic 1 7. Khiva Ceramic bowl badiya

with a narrow range of motifs. The most popular traditional composition consists of

parallel concentric strips, covering the surface fully, almost without letting the back¬

ground color through. Thus a large part of all motifs belongs to the group of linear,edging patterns. Among them are mostly geometric patterns: straight and broken

lines, zigzag, very simple geometric figures. There are stylized depictions of house¬hold items, animals and plant motifs (Illustration XLVIII). Khiva masters often use

network patterns.

In the links of the network, they put ornamental motifs: flower laurels, leaves,

crosses, dots and others. This design is used in the central field, for example, when

dividing it with two wide cross-shaped intersecting ribbons, creating 4 sections (Pic17), with the area of each sector, as in Rishtan items, often painted in fine

90 M. Rakhimov

latticework (Illustration XLIX, 8-11). Circles and rosettes play an important role in

ornamentation. The center of circles is decorated in various ways: with simple geo¬

metric figures, or intricate rosettes and medallions. Besides circles, the central field

is decorated with plant and animal motifs and various household items (Illustration

L). These include the 2-stringed dutar, a knife, a rifle, a comb, a beak, fish, snakeand others .

Besides these simple designs, there are more complex ones taken from

architectural ornamentation, some very detailed. Veisov and Palvanov are noted for

this. Blue or light blue rosettes and medallions are striking on the bottom of vessels,

but rather dry and strange. The introduction of lead glaze allowed the use

of a greater range of colors and compact designs.The ceramics school of the late

19th-early 20th centuries was widely known. Ceramists came from other regions of

Central Asia to study here. The most popular ceramists were V. Ataniiazov, usta

Veis, i. Kalandarov, M. Madaminov, usta lusup and others. Masters in the Soviet

period include Balta Veisov, D. Matniiazov, A. Safarov, T. lusupov. Young

ceramists today include Allabergenov, M. Iskanderov, S. Sapaev, who continue

and develop this ancient art here.

Chapter - IV. New features in ceramics production. 91

CHAPTER IV

New features in ceramics productionand prospects for its development

by M.K.Rakhimov

In addition to preserving traditions in modern ceramics, masters have been

introducing many new features, attesting to the active development of the art. Pro¬

duction technology, methods and principles of artistic design are constantly under¬

going changes. Materials are mostly the same - local potter's clay, sand, quartz

and mineral dyes. But, besides local materials, new materials, such as chemicals

(soda, caustic soda and others) and factory dyes (cobalt oxide instead of lapis

lazuli, antinomy oxide instead of iron and chromium oxides, chromium oxide

instead of copper) are being used. Kaolin is used as an additive to dyes. For under¬

glaze engobe dyes, underglaze porcelain dyes from the Dulevsk dye factory areused.

The mechanization of the production process has reduced the heavy work

for masters, though this progress has been slow to reach small enterprises. Except

in Tashkent, all regions use the charkh potter's wheel. In some artels the process of

grinding glazes has been mechanized. In Rishtan in 1946 a mechanical mill for

grinding glaze was installed, as well as two Dorst machines for molding crockery

and a ventilation apparatus for kilns. No further modernization has taken place.

In Tashkent at the Baranov artel (now Silicate-Ceramics Factory No 2) mecha¬

nization of many processes has occurred more rapidly. Crockery is formed in gyp¬

sum molds and poured as specially prepared liquid (shliker). Instead of simple potter's

wheels, mechanized wheels of the spindle-type are used, where items are pro¬

duced in gypsum molds using steel templates. Mechanization provides a double-

rolling clay-brake and rollers for medium grinding, instead of the tedious manual

preparation of the clay mass. Mechanical millstones and special ball-bearing mills

for grinding component parts of the mass and glazes are now available, including

92 M. Rakhimov

the first experimental muffle kiln, where the baking is done in capsules. For stamp¬

ing and pouring, clay or gypsum molds are used, an ancient process. Traditions

in making jugs - oftoba - of oval and ring forms use clay molds qolib which have

been preserved by kulols. However, recently, instead of clay forms, masters have

started using gypsum matrices and forms.

First a model is made of clay, wax, wood or gypsum. Before the mass is

poured into the form, the model is coated in melted paraffin or stearin wax mixed

with kerosene to the consistency of thick cream. The gypsum forms are whole or in

parts. Whole forms are used when the formed item can be freely removed from

them; for example, cups, pialozhkas, dishes, etc. If the model has an impression

or convex parts (a handle or spout) then sectioned forms are used. Forms for large

items are made in three or four sections. Shallow plates and dishes having a large

diameter are made with convex gypsum forms and molds. In this case the inner

side is formed and turned using a mold.

The master puts the form in a "nest", puts the clay mass In it, presses with

his hand and smoothes it with a wet brush, then lowers the metal mold and removes

the excess clay, giving the item the desired features. The distance between the

form and the mold should be equal to the thickness of the object (taking into

account drying and settling). After removing the mold, the edges are cut with a stick

and the item and form are taken to the drying area. Complete forms are items

of varying depth. The mass is placed directly in shallow forms or is applied during

rotation in lumps of clay mass. Then the mold is lowered, removing excess clay and

evening out the inner side. More complex items, including narrow-necked items are

made in separate gypsum forms in sections and later assembled, using wet clay

to join the sections.

The Baranov artel was the first to use molds and gypsum forms in 1957.

Now there are three sizes of dishes produced this way. Carefully prepared local

potter's clay is used. [Excellent dyes include: blue dye - 90% Gilbota, 4% quartz

sand, 6% cobalt; green - 80% Gilbota, 10% quartz sand, 6% copper; brown - 20%

Gilbota, 70% red clay, 10% magila; white - 79% Gilbota, 20% kaolin, 0.5% glass

powder.] Lead glaze In used by all ceramics enterprises. It melts easily, is cheap

and easy to use, and has almost completely replaced alkali glaze. When prepar¬

ing the glaze, the master uses factory lead glet, and sometimes feldspar is added,

mined in Liangar. For glazed items the following are added to lead glaze: 7.1 kg

Chapter - IV. New features in ceramics production. 93

lead glet, 200 g kaolin, 3.8 kg quartz sand, 105 g stannic oxide (tin). Painting with

brushes remains the same, though the methods of combined painting (scratching

contours) have changed. For artistic items, new methods of drawing on surfaces

are used. Instead of scratching patterns by hand, requiring much time, masters

apply a punctured paper design to the raw clay and sprinkle power on it. The points

of the pattern contour are deepened with a sharp needle. Then the drawing is painted

and the item baked and glazed. At Ceramics Factory No. 2 rubber stamps are used

to make contours of drawings, and then the contours are scratched deeper and the

drawings painted with engobe colored dyes. Both methods allow productivity to

increase and reduce the cost of production.

Along with traditional forms, in Soviet times - especially recently - kulols in

many ceramics regions have begun to produce items of completely different form

and color: milk jugs, carafes for water, vases of various sizes for flowers, soup

bowls, sugar bowls, cups with handles, plates with a shallow base, teapots, small

cups, jars for jam, flower pots and others . Some masters, by experiment or order,

prepare such items as inkpots, ashtrays, statuettes, flasks, steins, toy sets, and

others. New forms or designs are not the only creative challenge for masters. Each

experienced master, when painting, searches to some extent for new methods

of artistic expression. Ornamentalism, both conventional and new, is not of great

interest to the broad masses. The search for new designs is proceeding in two

directions: 1) changing ornamental decoration with new subject matter, and enrich¬

ing local traditional ornaments with new elements, including motifs reflecting con¬

temporary reality; 2) using motifs from ornaments found in other decorative arts.

In ceramic painting there are several new elements: the depiction of the

state crest of Uzbekistan, red stars, airplanes and others. Cotton is very popular.

Cotton plants, heads and flowers are created using traditional patterns and in new

compositions. In the 1930-40s attempts were made to illustrate literary works.

A drawing by Chingiz Akhmarov was based on the poems of Navoi "Seven Planets"

and "Farkhad and Shirin." Free compositions based on "Grape Gatherer", "Cotton

Gatherer" and others were made. Portraits were also produced. The first was

in 1937 by the Tashkent artistic training and production kombinat. But all these

attempts were unsuccessful - conditions were not yet in place for creating portraits

on local ceramics. Colors appropriate for such painting had not yet been devel¬

oped. Besides, the regime for baking was too complex. Professional artists were

necessary.

94 M. Rakhimov

In 1959, the Union of Soviet artists of Uzbekistan took up artistic ceramics. Under

the artistic fund of the Union of Artists of the USSR, experimental-production ce¬

ramics laboratories were organized. Their aim was to create new forms of artistic

ceramics and new methods of producing them, as well as to provide creative pro¬

duction assistance to masters and artists of ceramics. This is a very important initia¬

tive, since the demands in experimental work are great for artists. Professional

artists working in decorating ceramics include S. Rakova, B. Turkevich, R. Akbalian,

N. Feodaridis, Mileev, A. Kaiumov, T Barpal, TV. Titova, G. M. Khvorostenko, B.S.

Lavrinenko and others.

There have already been some achievements in creating original forms and

decoration, and in using new materials, including dyes and glazes. At applied arts

exhibitions in Uzbekistan in 1960-1, many works demonstrated this. In the future,

the experimental laboratory will be the center for the republic's ceramists: for the

creation of new ceramics which meet modern demands while continuing to embody

the best artistic traditions of native ceramic art. Enriching ornamentation with new

elements will be easier.

There are several approaches. Some masters introduce into design

different patterns from other folk arts - embroidery, woodcuts and others - with

little change. Others create new motifs, pushing the limits of necessary

conventionality of the image. The search for new forms and artistic methods

of design is the goal of all major modern ceramists of the middle and younger gen¬

erations. For example, the famous Rishtan master Musa Ismailov is preparing milk

jugs with one handle, vases of three types, soup bowls with lids, carafes for water,

and dishes of two sizes with special holes on the bottom for hanging on the wall.

He also makes sugar bowls and cups. His work is light and delicate in form.

He uses the technique of gravure using engobe and brush painting, with cotton and

grapes (paxtajul, g'o'zagul and uzumgul) and traditional islimi . Another Rishtan

master - Rustam Kasymov and his son Khatam produce items which modify tradi¬

tional forms. Using gypsum forms, he produces figured oftoba o'dak, oftoba huroz,

oftoba qo'chqor (sheep) and others. Most stamped figured jugs are decorated with

relief lines or traditional geometricized ornaments: davra, yulduz, g'o'zanakgul

(steppe plant), and others. Jugs with smooth sides have new patterns: airplanes

and grapes. Gijduvan masters Usman Umarov and Ibadulla Nazrullaev have intro¬

duced new motifs, including the somewhat abstract depiction of the contour of the

Chapter - IV. New features in ceramics production. 95

Ismail Samanid mausoleum on plates, with an attractive border pattern. Decorative

dishes of usta Ibadulla Nazrullaev with a blue world in the center of the dish are

interesting. Shakhrisabz master Abdukarim Khazratkulov and his students

Abduakhad Muzaffarov and Turda Rustamov are producing new forms: milk jugs,

vases, deep plates, cups and carafes. They are delicate, light and elegant in form.

Along with traditional ornaments, they use new motifs - paxtagul, pilla (cocoons),

uzumgul, baliq (fish), popishak and to'ti (parrots; Illustration LI).

Shakhrisabz masters have such an excellent grasp of colors and new pat¬

terns, it is difficult to determine which items are new and which old. Kattakurganmasters such as luldash Abdullaev and his students Faizulla Shukurov and others

also produce new types of items. This master worked in Tashkent for 3 months

at the Baranov artel, where he learned new technology for decorating using engobe.

He is working on carafes, cups, liagan of three sizes, milk jugs, and small vases,

using engobe and bosma methods learned in Tashkent. The senior Samarkand

master Umarkul Djurakulov makes excellent milk jugs, teapots and inkpots. He alsomakes models of Samarkand architectural monuments such as the Shir-Dor

medressah and the Gur-Emir.

More than elsewhere, masters in Khorezm have stayed closer to tradition.

They only use new technology, including lead glaze, instead of alkali, and engobe.

This has changed the hue of their work and increased the variety of ornamenta¬

tion. But the form and motifs of ornaments have remained unchanged. The ap¬

pearance of new forms and patterns can be seen in such masters as the late usta

Balta Vanisov and usta Tadji Palvan. They increased the assortment of items,

including small pitchers, milk jugs, soup bowls, vases and others. Drawings are

passed down from father to son, but they have created new motifs such as bayroqgul,

paxtagul, yulduzgul and others.

Ceramists at Tashkent Factory No. 2, led by K. Turabov and A. Rakhmatov,

are adapting quickly to modern demands. Completely new forms have begun to be

produced. Their technical features give them a unique appearance. The new items

use double baking, so they are called majolica. The painting uses white engobe on

a dark brown background, and the contours are scratched on in the manner

of engobe (Illustration Lll). For majolica-painted items, ceramic dyes of all kinds

and shades are applied in a thicker layer than usual for single-baked items. The

ornament and paint is applied to the raw crockery before the first short baking, then

96 M. Rakhimov

the item is glazed and baked at a higher temperature. The ornament is highly styl¬

ized and sharp. Traditional patterns, as well as modern ones, are used. Traditional

ornaments that are reworked include shoxchagul, qizil gul, lolagul (tulips), gilamgul

(carpet patterns), sholchagul, and others (Illustration Llll). Vigorous lines are made

by an even application of paint on yellow-white background under a transparent

glaze, giving the ornament a somewhat dry character, without a play of colors

Pic 18. Ceramic plate, Tashkent masters

(Illustration LIV). However, the variety of colors and richness of patterns is striking

(Drawing 18). When painting jugs, vases and cups, much of the background is left

free, since the ornaments include medallions or strips and chains framing the neck,

edges and middle part of the vessel. New designs in Tashkent include stylized and

realistic depictions of cotton, grapes, pomegranates, airplanes, tractors and 5-pointed

stars. Each potter adds his own touch and introduces new details. Ornaments from

faience and wood-carving create a dry, cold, alien ornamentation. Examples are

masters K. Turapov and masters of the school of T Miraliev (Illustration LV).

In addition to clay products, new forms of porcelain and faience are being pro-

Chapter - IV. New features in ceramics production. 97

duced. The first porcelain factory in Central Asia was opened in 1954 in Tashkent.

Initial work to master the technology used traditional designs. Work to introduce

traditional ceramic ornamentation is still experimental. Young artists who received

their training at the Benkov arts college include A. Mirzabaev, Ya, Saipov,

N. Mansurova, A. Aridjanov, V. Chernykh, A. Duganov and others. The work of

A. Mirzabaev, A. Arifdjanov and V. Chernykh is especially interesting. They use

overglaze covering on a white background with cobalt and a stencil. S. Rakova, B.

Turkevich and T. Barpal also are introducing ceramic subjects into porcelain.

In 1960 faience crockery production began at the Silicate-Ceramics Factory

No. 2 in Tashkent. The preparation of faience mass - consisting of Angren plastic

clay (kaolin), Langar feldspar and quartz sand - means a more complex and long-

term process than preparing mass for simple ceramics. Forming the items

is done using a spindle ceramics machine, molds and gypsum forms. Pouring into

gypsum forms is used. The items are baked in capsules twice, with the utility baking

at a higher temperature than the second glaze baking. In the faience shop of the

factory, only two sizes of dishes are produced at present. New forms using tradi¬

tional artistic ceramics designs are foreseen. The mastery of faience production

allows experimentation in renewing traditional artistic styles along the lines of chinni.

M Rakhimov and A. Aminov use underglaze to produce fine painting with islimi

patterns in faience, using blue dyes on white background. Painting is done usingcobalt.

Faience and porcelain production does not mean cutting back on ceram¬

ics. Ceramics production has excellent prospects, not only for household items, but

for decorative items - vases, wall ceramics, statuettes. Expansion and develop¬

ment means strengthening small enterprises and mechanizing the heavy work within

them. The experience of Czechoslovakia here is useful. There they have special

factories producing ceramic glazes and dyes, as well as electric muffle kilns for

baking. The creation of more favorable conditions for the production of ceramics

and the attraction of professional artists and well-trained young masters into the

field will encourage a renaissance of the best traditions of ceramic art

in Uzbekistan, as well as providing for its further development.

98 M. Rakhimov

ILLUSTRATIONS

Traditional tools, shapes and ornaments

Illustrations 99

Illustration I. Potters tools. 1-2- mola, 3-katta mola, 4-richkina mola, 5-labgir,

6-sim, 7-8-9-naqshin qolip, 10-lagan qolip, 11-13-naqshin qolip, 14-15gujmak.16-tuppa, 17-tagi qalam, 18- taroq, 19-kojkord, 20-23 qalam, 24-25-pargor.

100 M. Rakhimov

Illustration II. Shapes of dishes from different regions of Uzbekistan. 1- charhi

tovoq (Rishtan), 2- tovoqi langari (Samarkand), 3- naqshin toboq (Gizhduvan),

4- lali toboq (Samarkand), 5- chuqur tovoq (Rishton), 6- miena tovoq (Gizhduvon),

7- miena tovoq (Rishton).

Illustrations 101

Illustration III. Shapes of bowls from the different regions of Uzbekistan. 1- dugobi

koca (Samarkand), 2- qaimoq koca (Rishton), 3-labi gardon, 4-koca (Gizhduvan),5-dukki koca (Gizhduvan), 6-yumaloq koca (Rishton), 7-haqshin koca (Rishton),

8-tarkash (Rishton), 9-10-koca (Rishton)

102 M. Rakhimov

Illustration IV. Shape of ceramic bowl bodiya Khorezm.

1-2- bodiya

Illustrations 103

Illustration V.Shapes of vessels for water and milk

1-qushquloq (Tashkent), 2-hurmacha (Tashkent), 3- kukanak (Rishtan),4-chapiya (Rishtan), 5- water jug (Rishtan).

104 M. Rakhimov

Illustration VI. Shapes of Jugs. 1-quloqcha (Samarkand),2- qatiq kusa

(Samarkand), 3-obdasta karshagi (Karshi)

Illustration VII. Most simple geometrical ornaments, which are typical for decorat¬

ing ceramic items in all the regions of Uzbekistan (made with cutter or by brush)1-hat, 2-qushhat, 3-sehat, 4-chorhat, 5-hatti kesma, 6-hatti mahudi zulma, 7-ce ilon

izi, 8-qush ¡Ion izi, 9-ilon izi, 10-egri hat, 11 -du egri hat, 12-ce egri hat, 13-16-bir

tortar, 17-harsang tosh,

Illustrations 105

10 11

///////// WWW ((13 14

1X3 XI JW18 19

AAAAA25

27

26 28

xxxxxx

29 30

PPPPPPPO O o O

32 33

///////////34 35

<§||0||<2G)I1@I1¿11

36

mm.o o

o oo

38

18-kamar, 19-20-jiblajibon, 21-chumchuqqanot, 22-rohi zanjira, 23-chetan,

24-tumorcha zanjira, 25-dandana, 26-tagi hoshiya, 27- hatti jingalak, 28-qargatirnoq,

29-tumori roh , 30-guli mugilon, 31-qushtirnoq, 32-bargi sambit, 33-zulma zanjira,

34-qanot zanjira, 35-tumorcha zanjira, 36-kariz zanjira, 37-zuluk zanjira,

38- naqshibustoni.

106 M. Rakhimov

1

éééé3 4

<

6

*.*y7

9

010 11 12

14 15 16 17

^P '^ ^^19 20 21 22

23 24 25 26

Illustration VIII. Typical ornaments in all the regions of Uzbekistan. 1-nahot, 2-

chashma, 3-bosmanahot, 4-pistagul, 5-davranohot, 6-parparak, 7-bosma parparak,

8-charpalak, 9-davra zulma, 10-davra, 11-naqshi sitora, 12-parrak bosma, 13-15-

yulduz bocma, 16-tolbarg, 17-panjagi bosma, 18-zarpoya, 19-21-guzanagi terma,

22-yulduzbosma, 23-bodom, 24-qanoti murg, 25-naqshi shamdon, 26-naqshi girdobi.

Illustrations 107

JËJËJËT JaoaJaH^

-ruumnnnn

5

V7SZSTSZS1 WLJmStSlSllllffllllllllllllUII mULIm

*I0 I!

*x-x-x*12 13 14

iS^^^ieZ»» » ^o^ 4

x {©) CS I

+J&J&L*- >f+)f«420

Illustration IX. Ornament decorations of nerrow and wide ornamental stripes, whichare typical for all the regions of Uzbekistan. 1-dandana, 2-oshiq zanjira, 3-yaktarafizanjira, 4-zanjirai raftor, 5-6-jingalak zanjira, 7-8-pechalak, 9-madohilcha, 10-obi

rahmat, 11-zanjirai chashma, 12-galvirak hoshiya, 13-tikanak, 14-chetan buirugi,15-nahoti , 1 6-zanjirai vov, 17-gilosbarg, 18-halqa, 19-havzagi zanjira 20-egar zanjira.

108 M. Rakhimov

dt

Illustration X. Elements for decorating centers of ceramic plates and bowls.which

are typical for all the regions of Uzbekistan. 1-jingalak, 2-qalampirgul, 3-nokgul,

4-bargi gulnor, 5-guli behi, 6-bargi tug, 7-madohili sodda, 8-naqshi humoyun,9-naqshi ponis, 10-guli madohil, 11-guli olubolu, 12-guli binafsha, 13-parpasha,14-munchoqgul, 15-doira, 16-charhi palak.

Illustrations 109

^AVAVAN UWtfg O

10 12

j <« ¿g¿¿13 14 15

t*l t*l SB

16 17 IS

Illustration XI. Ornamental stripes (Rishtan). 1-hatimehrobi, 2-bargi rayhon, 3-koptok

zanjira, 4-kulcha zanjira, 5-gandum zanjira, 6-bargi dolchin, 7-kuhiqop, 8-nohotihonagi, 9-nokbarg, 10-qovoqbarg, 11-cebi hoshiya, 12-jingalak zanjira, 13-hapalak,14-qush qanot, 15-ilmoq zanjira, 16-tumorcha honagi, 1 7-otosharova, 18-gildirak

zanjira.

110 M. Rakhimov

$\$\

S#S#

iii12

7$ JWXÍ&&

19 20 21

Illustration XII. Ornamental stripes (Rishtan). 1-bargi zanjira, 2-zanjirai taroq, 3-islimi hoshiya, 4-taroqi sang, 5-ishkomi hoshiya, 6-mehrobi oba, 7-quchqaroq zanjira,8-anjirgul, 9-chashmi ushtur, 10-islimi taroq, 11-naqshi halila, 1 2-zanjirai bodring,13-14-zanjirai trvuz, 15-kapalak zanjira, 16-zanjirai trvuz palla, 17-mehrobi qalam,18-zanjirai islimi choryaproq, 19-zanjirai islimi olhuri, 20-islimi pechakgul, 21 -islimibaizai anqo.

Illustrations 111

Illustration XIII. Elements of ornament, center of plates and vases (Rishtan).

1-pistagul, 2-bargi mustai, 3-guli talha, 4-qafasi bedana, 5-bargi islimiruhat, 6-guli

akvohun, 7-guli gajak, 8-qovoqgul, 9-bargi chingalaki huddus, 10-guli mujgon,

11-guli angur, 12-guli azhar, 13-darahti hurmo, 14-naqshi morob, 15-guli rumi,

1 6-guli asalari, guli anor, 17-anorgul, 18-guli binafsha, 19-guli tupsar.

112 M. Rakhimov

Illustration XIV. Elements of ornament, center of plates and vases (Rishtan).

1-du gajagi morgula, 2-gajak barg, 3-tugbarg, 4-bargi kobuzbon, 5-bargi zanjabil,

6-bargi nayza, 7-bargi shishora, 8-bargi madohil, 9-bargi mushki anbar,

10-gandumgul, 1 2-bargi gajak, 13-choybarg, 14-rishtai pisorig, 15-behi sarun,

16-naqsh hashhosh, 17-behi dasti payoh.

Illustrations 113

v¿ v

Illustration XV. Elements of ornament which are usedin all compositions of ce¬

ramic ware (Rishtan). 1 -guli bodom ninachi, 2-bodom gul, 3-islimi qalampir, 4-guli

tarvuz, 5-gulinok, 6-pistagul, 7-islimi ansur, 8-gulinorinj, 9-sodds gul, 10-11-qirq

ogayni, 12-karnaygul, 13-qieq ut, 1 4-guli chongora, 15- loia gul, 16-butagul, 17-gunchagul, 18-guli zarvaraq, 19-guli odmi, 20-gulhayri, 21 -guli usma, 22-guli ansur,23-guza gul, 24-naqshi obi.

114 M. Rakhimov

WA#

«

13

*Sfc>£

o* .y/«*ysf

W

-^ # i^*11

^®15

â Je17 IS L9

Illustration XVI. Elements of ornament with zoomorph type, which are used in all

compositions (Rishtan). 1-5-quchqaroq, 6-islimi zuluk, 7-chor chashm, 8-qush bargibodomi shijor, 9-dumi baliq, 10-qanoti tovus, 11-qanoti urdak, 12-dumi kabutar, 13-qanoti tovus, 14-qanoti kapalak, 15-dumi murg, 16-17-dumi huroz, 18- dumi burgut,19-qanoti boyqush, 20-oltin qungiz.

Illustrations 115

Illustration XVII. Ornaments for center of ceramic ware.1 -chinni muhr, 2-shamdoni

hashtagi, 3-elpizgul, 4-oftoba, 5-pirpirak, 6-tupmunchoq, 7-girdobi parra, 8-palakgul,

9-shabaki, 10-chigiriq, 11-davrai hurshid, 12-hashti havzagi, 13-chormagiz, 14-tuegi

gusfand, 15-mori sieh, 16-hati islimi, 17-shohi gov, 18-haqshi koshkord, 19-chashmi

gov, 20- Rasul Muhammad-usta.

116 M. Rakhimov

3 456 789 10

Illustration XVIII Teapot and knife ornaments used for decoration of plates

(Rishtan). 1-kordi kalon, 2-kordi muza, 3-kordi baliq, 4-5-oshpichoq, 6-kordi tok,7-qayrilma kord, 8-kordi hanjar, 9-kordi isfahon, 10-kordi nayza, 11- kordi osh,1 2-kordi ara, 1 3-kordi novda, 14-pichoq qini, 1 5-chuyan obdasta, 16-oftobaqumgon,

17-18-choydish, 19-sarqumgon, 20-qumgon choydish, 21-qumgon, 22-qumgonchachoydish, 23-chovgum, 24-oftoba, 25-choydish, 26-qubba choydish, 27-choygul,28-kungira choydish.

Illustrations 117

fffTtrHIMt

^««««\V

3

vt§r/y&¿vty¿y¿i4

v^a/vvW**

si

15

17

mm»20

i:

m

ggnanaiiaa-

|V4v4v4v4v4v¿g b b n'n p a a a ii A

21

m%? *;*;*;*...... t

23 24

Yc

16

*5*^Á #? 5%

CD M CD M CDHI CD H CD H CD

22

iAU4U4U4U

25

Illustration XIX Geometrical stripe ornaments (engraving and brush painting). 1-

dandana, 2-halqa zanjira, 3-narvon, 4-chashmi bulbul, 5-oba, 6-tumorcha, 7-jiydagul,8-bondi rumi, 9- parpashsha, 10-moragi duqator, 11-nohoti halqa, 12-taroqi harroj,13-14-madohili islimi, 15-chorhonai terma, 16-chapu rost, 17-qur chorhona, 18-qur

sambusagi, 19-parra harroj, 20-bargi tumorcha, 21 -tumor zanjira, 22-gisht zanjira,23- moragi nahurt, 24-guzagi terma, 25-zanjirai nim davra.

118 M. Rakhimov

Illustration XX. Nerrow and wide ornamental stripes (Gizhduvan, engraving and

brush painting). 1-harroji vardanzi, 2-harroji chorhona, 3-4-harroji butta, 5-chashmi

bulbul, 6-chertaki dandona, 7-chertak chorhona, 8-sambusagi chertak, 9-du dandona

chertak, 1 0-rosti chertak, 11-chertakidutarafa, 12-darahti harroji, 1 3-harroji sarbasar,

14-harroji bargi bed, 15-bodomcha harroji, 16-qur barg, 17-morgulai sarbasar,

18-morgula parragul, 19-morgula yaksar, 20-yaksara morgula, 21-gajakbarg.

Illustrations 119

mmm i)/m\°/r\°/W\0/*\0s*f/1\0/TÍ

¿JJJJJ &gfgf& ï*é0Aâ10 11 12

15

§¡ggg¡gg &££)Ç2S>16 17 18

W£W£ »»»>»> >»>»>»19 20 21

Illustration XXI. Nerrow and wide ornamental stripes (Gizhduvan, engraving and

brush painting). 1-bandi rumi, 2-madohili vardanzi, 3-du sari madohil, 4-madohili

rayhon, 5-moragi, 6-moragi guzanak, 7-qungiz, 8-chashmi gusfand, 9-chashmi zog,10-chashmi gov, 11 -chashmi quen, 1 2-bargi bodom, 13-bodomcha, 1 4-guli zardoli,

15-chertma bargi zanjira, 16-hat guli rayhon, 17-hati jingalak, 18-islimi angur,

19-islimi gura, 20-tolbarg, 21-qush bargi nahot.

120 M. Rakhimov

<W¿&*

Illustration XXII. Motives of rosettes and circles, plate and bowl bottom decoration

(Gizhduvan, engraving and brush painting). 1-hashti barg, 2-naqshi yulduz,

3-morsang, 4-ergichoq, 5-patnisgul, 6-doiranaqsh, 7-parpashsha, 8-girdobi,

9-davranaqsh, 10-doiranaqsh, 11-qushqanot, 12-chorbodom, 13-chigitgul, 14-quqon

gul, 15-doiranaqsh, 16-bodbezak,1 7-guli koshini, 18-19-kosagul.

Illustrations 121

llustration XXIII 23. Motives of rosettes and circles, plate and bowl bottom decora¬

tion (Gizhduvan, engraving and brush painting). 1-shapalak qanot, 2-quli tanob,

3-guli chertak, 4-palakgul, 5-chor guzon, 6-guzguzak, 7-madohilli terma, 8-hashti

madohil, 9-buyragi, 10-mokigul, 11-bulut naqsh, 12-parra gul, 13- parragul bodom,

14-palakgul, 15-koshini.

122 M. Rakhimov

#4?«r

Illustration XXIV. Plate and bowl bottom decoration (Gizhduvan). 1-anorgul,

2-jiydagul, 3-guli binafsha, 4-guli jaba!, 5-guli sanjar, 6-dumi goz, quchqoraq,7-shohbarg, tahti Sulaymon, 8-9-pahta gul, 10-du chashmi bodom, 11-guli sham,12-se chashmi madohil, 13- madohili harroj, 14-madohili taroq, 15- madohili tug,16- madohili lola.

Illustrations 123

Illustration XXV. Elements of ornaments (Gizhduvan). 1- guli sham, 2-mehrobgul,

3-mehrobi morgula, 4-mehrobi harroj, 5-moragi mehrob, 6-madohili mehrob,

7-mehrobi ponis, 8-mehrobi harroj, 9-bargi chor kunjai terma, 10-naqshi behi kuza,

11-chor chup, 12-oy mehrob, 1 3-mehrobi asmbitgul, 14-chirogi mehrob, 1 5-bargi

mushk, 16-17- madohili harroj, 18-chirogi mehrob, 19-guli mehrobi pista bodom,

20-bargi madohil, 21-chorbargi bed, 22-chorbargi harroj, 23-madohili bodom.

124 M. Rakhimov

Illustration XXVI Ornaments bottom decoration (Gizhduvan). 1 -chashmi gov,

2-qanotikapalak, 3-chashmi gov, 4-mingoyoq, 5-qirqoyoq, 6-dumi burgut, 7-muegi

safid, 8-guli tovus, 9-oltinqungiz, 10-boyqush, 11-bargak, 12-du sari morgula,

13-nonsavat, 14-semorgula.

Illustrations 125

**X*«X*X«X#*;$

7

fraise®:10

19

>S >N A"K /\

2

8

mm

6

9

rrr ;r-

... « »

12

Illustration XXVII. Ornamental stipes, plate and bowl decorations (Shakhrisabz).

1-chizmanaqsh, 2-hazorisfand, 3-qush morak, 4-darahti chizma, 5-chizma hoshiya,6-sunbula, 7-qushtirnoq, 8-kordi osh, 9-bocma harroj, 10-davra zanjira, 11-hatirayhon, 12-mehrobi zanjira, 13-bandi rayhon, 14-chul zanjira, 1 5-chashmi panja,16-bodomcha, 17-beda gul, 18-islimi barg, 19-islimi pechak, 20-mehrobi mushkianbar, 21 -mehrobi morak, 22-mehrobi qushqanot,

126 M. Rakhimov

*l

»:ffijy

8

Illustration XXVIII. Elements of ornaments bottom decorations (Shakhrisabz).

1-chorbargi kungura, 2-qaytarma gajak, 3-du chashmi barg, 4-du madohil mehrobi,5-bargi madohil, 6-sebodom, 7-bodomi chetan, 8-bodomi se chashma, 9-bodomi

gajak, 10-sari mor, 11-mori ut, 12-morak, 13-qaytarma gajak.

Illustrations 127

vr-V'-v-.-Jl" , * *-

,-y '.:l

y J:. '.;.

;,v<

-?v:

1

r

¿2L

C^

Illustration XXIX. Elements of ornaments bottom decorations (Shakhrisabz).

1 -oftobparast, 2-sarapatoi jingalak, 3-pahta nuragi, 4-bargi qanot, 5-tupsargul,6-naqshi guzanak, 7-hovuz, 8-chorbargi mavj, 9-bargak, 10-terma gajak, 11-nimbargak, 12-parra zulfak, 13-bargi zulfak, 14-terma zulfaki sodda.

128 M. Rakhimov

* v-;'

:( }

8

Illustration XXX. Elements of ornaments (Shakhrisabz). 1-chashm,2-butachashm,

3-bargi nahud, 4-engoq gul, 5-bargi chetan, 6-segul, 7-chorbargi kungura, 8-tupeti,

9-gandumi quchqaraq, 10-kumma, 11-kuknori, 12-anorgul, 13-sebarg.

Illustrations 129

Illustration XXXI. Plate decorations (Shakhrisabz).

1-naqshin toboqi- serbargi tupeti, 2-naqshin toboqi-moragi.

130 M. Rakhimov

o ' & OO Q O Q o o o"

1

4 5 6

7 8

%£&&&&? >^<x» aaïQsys9 10 11

(a :;<?. m ^Â^v^" x il fr^H ^©*§> e^=§> ©#s> "£#¿' v V V

v) (S -'I"/ Op.- (Ü) -:o : ^Sj \/\ ^/l12 13 14

15 16

IWVaî/Wè/^X17 18

19 20

/*^21 22 23

¿Çr^^3fyO CYO CV3CQ CÍO O OCP CÍO C+O

24 25

Illustration XXXIIOrnaments geometrical stipes on decoration of ceramic ware

(Samarkand).! -chashmi taroq, 2-kungura gul, 3-du qabati kungura, 4-tolbarg,

5-chor gunchagul, 6-kashak zanjira, 7-8-gajak zanjira, 9-tumori quchqaraq, 10-honagi

dugajak, 11-oybarg, 12-chorbargi holcha, 1 3-guli safid, 14-harroj gulibarg,

15-pechakgul, 16-du gajak gul, 17-shonabarg, 18-islimi yaktarafa, 19-islimi hoshiya,

20-oy islimi, 21 -22-qushbarg, 23-jiyda gul, 24-du gajagi yakdona, 25-darahti jingalak

Illustrations 131

12 3 4

EBfrB» mm& go<g7 8 9

10 11

crcrcrcrcr c7^>12 13

15

rTT-r'W'g"'« » *

16 17

rflrprprrrrprji/f7fïi/7iQ~f'f7ifrffj

18 19

wwww ccorsssssss21 22

Illustration XXXIII. Ornamental stripe decoration (Samarkand). 1- du tarafa kungura,

2-ravoq zanjira, 3-halqa zanjira, 4-oyshapaloq, 5-oyparchagul, 6-guli guzanak,

7-oy ari zanjira, 8-bargi, 9-bodomcha, 10-qushbodom, 11-qushgajaki bodom,

12-bodom, 13-qalampir, 14-qush bodomcha taroq, 15-qamchin dasta, 16-panjagul,

17-panjaguli. honagi, 18-shona chashmi bulbul, 19-chumchuq qanot, 20-harroj guli

turna, 21-shapalak zanjira, 22-zuluk zanjira.

132 M. Rakhimov

12 13 14

Illustration XXXIV. Circle motives for the decoration of bottom of ceramic ware

(Samarkand). 1-hashti shamdon, 2-doira naqsh, 3-terma parra, 4-chorgusha,

5- qalami harroj, 6-parragi pirpirak, 7-quqongul, 8-guli sarmugon, 9-chor buta guli

mehrob, 10-naqshu baliq, 1 1-pistagul, 12-davrai setora, 13-coatgul.

Illustrations 133

Illustration XXXV. Circle motives for the decoration of bottom of ceramic ware

(Samarkand). 1 -parra gul, 2-sapsargul, 3-parragi nahot, 4-chorbarg, 5-mokigul,

6-pirpirak, 7-koshingul, 8-davra madohilcha, 9-madohili chorbarg, 10-baliq jingila,11-guli moh, 12-hashti rahgul, 13-hashti kulcha gul.

134 M. Rakhimov

&JLP-

x\v//

Illustration XXXVI. Elements of ornament, which are used in all compositions

(Samarkand). 1 -bargi anos, 2-terma madohili zulfak, 3-terma zulfaki sodda, 4-nayza

zulfak, 5-qushzulfak, 6-karnaygul, 7-bargi hurmo, 8-qushigajagi terma, 9-cariqgul,10-pechak ut, 11-uslimi gajak, 120gajakchashm, 13-darahti du chashm, 14-darahti

bodom, 15-guli gandum, 16-tuvakgul, 17-islimi morak.

Illustrations 135

YVYYYW//vvwvy\

^/^M^z&tfM

»VVH14^V^14^M^^^M^H^ W""WT w0OOOGOOOO

10

"M©^11

Illustration XXXVII. Wide ornamental decorations, border of plates and bowls

(Kattakurgan). 1 -pilla pocha, 2-tumorcha, 3-quchqaraq zanjira, 4-burtma,

5-mehrobcha, 6-mehrobi chetan, 7-gildirak zanjira, 8-haqshi nova, 9-hashti nova,

10- kulcha zanjira, 11-karniz zanjira, 12-tirnoq zanjira.

136 M. Rakhimov

BH^^

á=á=ásủíá=£sfeA=S=fc¿

Z/£s£s£s^s

CSSS

>G)-<?)^r)x7)xr)^r)

j¿ ie y: )¿ t¿ j¿ m

Ol

o,

E

mm lili10

w K<:>? WÖ9WB? Rwr tsw Nw

11 12

X y x xxxx xxxx xxxxxxxxxx

xxxxxxxx X xxxxxxxxxxx

13

Illustration XXXVIII. Wide ornamental decorations, border of plates and bowls

(Kattakurgan). 1- koshin gul, 2-qushbarg, 3-honagi zanjira, 4-dumi asp, 5-bulutzanjira, 6-gajak panjara, 7- qush gajagi panjara, 8-chul islimi, 9-mola zanjira,

10-taroq zanjira, 11-qushqanot, 12-buyra zanjira, 13-chashmi bulbul.

Illustrations 137

Illustration XXXIX. Elements of ornament (Kattakurgan). 1- qoshgul, 2-quziqorin,

3-qiyoq ut, 4-tuggul, 5-olmagul, 6-gultojihuroz, 7-shobargi termok, 8-islimi chanqaroz,

9-oshpichoq, 10-yolpizgul, 11 -islimi du gajak, 12-gul sapsar.

138 M. Rakhimov

Illustration XL. Circle motives for the decoration of bottom of ceramic ware

(Kattakurgan) 1-marsana, 2-tovonchagul, 3-elpuguch, 4-naqshi oftobi, 5-chorbargi,

6-termagul, 7- bofta naqsh, 8-qashqargul, 9-patnisgul, 10-chinnibuta, 11-girdobi,

12-jiga naqsh, 13-morsang.

Illustrations 139

Tïïzfzwmwm

ii

10

£5£&ffc5££d mzggè&ffgà12

Illustration XLI. Ornamental stripe decoration (engraving Tashkent). 1-birtortar,

2-ikkitortar, 3-uchtortar, 4-kuz zanjira, 5-dula zanjira, 6-qiyoqbargi buta, 7-cim tortar,

8-qovun, 9-patak zanjira, 10-chizmabarg, 11-madohilcha, 12-madohili sar.

140 M. Rakhimov

1 1 g irssí

$?)(?# *i r*

8

Illustration XLII. Ornamental stripe decoration (engraving Tashkent). 1 -chakmatumor,2-gajak zanjira, 3-islimi niva, 4-qush gajakgul, 5-chamani gulafshon, 6-poygul,7-zanjira, 8-bodomcha, 9-avvalibohori zanjira.

Illustrations 141

Illustration XLIII. Circle and flower ornaments, decoration of ceramic ware

(Tashkent). 1-islimi oftobi, 2-galvirak, 3-mokigul, 4-laligul, 5-qultiqtumor,

6-binafshagul, 7-jiga naqsh, 8-shamdon, 9-makkajuhori, 10-taroqgul, 11-oitish,12-mehrobi.

142 M. Rakhimov

lllusration XLIV. Elements of ornaments, decoration of ceramic ware (Tashkent).

1-pistagul, 2-bargimorgula, 3-shobarg, 4-5-qairilmsbsrg, 6-gajakbarg, 7-8-bargi

qalampir, 9-qushbodombarg, 10-quroqbarg, 11-butoqbarg, 12-qubba barg,

13-hitoibarg, 14-qora qosh, 1 5-bargi qashqarcha, 16- rubob, 17-hutangul.

Illustrations 143

Illustration XLV. Elements of ornaments, decoration of ceramic ware (Tashkent).1-karnaigul, 2-guli sapsar, 3-guli duruiya, 4-pahtagul, 5-olchagul, 6-guli rano, 7-tupi

bodom, 8-sariqgul, 9-qieq ut, 10-gulihayri, 11-qovunguli, 12-bargi madohil,

13-madohili shahnoz, 14-madohilgul, 15-qush madohilbarg, 16-madohili darroz,17-qushnaiza madohil, 18-shohlik madohil, 19-byrtma madohil.

144 M. Rakhimov

Illustration XLVI. Elements of ornaments, decoration of ceramic ware (Tashkent).

1 -chashma madohil, 2-pista gul, 3-hitoichabarg, 4-guli mochin, 5-oqgul, 6-chihhibarg,

7-sambitbarg, 8-nokbarg, 9-qovoqbarg, 10-chashmi mor, 11-shaftolibarg.

Illustrations 145

Illustration XLVII. Elements of ornaments, decoration of ceramic ware (Tashkent).

1-usmagul, 2-kuknorigul, 3-chamangul, 4-hamozshomgul, 5-qafas, 6-qalampirgul,7-bodomcha, 8-baliqdum, 9-bodomgul, 10-buyinchagul.

146 M. Rakhimov

/ ; II

tl¡ ,ír

13

17

21

14

ce

18

VV¡sA/¡

22

I il »

11

19

ym rm23

20

Illustration XLVIII. Ornamental stripe decorations for plates and bowls (Khorezm)1-Uranaqsh, 2-taroqgul, 3-nuhta, 4-ilonizi, 5-soldat, 6-bigiznaqsh, 7-ilmoq, 8-qilagul,

9-hoshiyagul, 10-hoshiya naizagul, 11-galvirak, 12-humbuznaqsh, 13-hushruyi gul,14-nahudi chor guzar, 15-shohgul, 16-yaproq, 17-taroq,18-oicha, 19-nahud,

20-darahti gul, 21-islismi enfozi, 22-raihongul, 23- usmagul, 24-kuznaqsh.

Illustrations 147

Illustration XLIX. Elements of ornaments, which used for decoration of all compo¬

sitions (Khorezm). 1-qargatish, 2-zaitungul, 3-yaproqgul, 4-guk daraht, 5-yashil

daraht, 6-shohchagul, 7-bodombarg, 8-turt yaproq, 9-guza gul, 10-ilon boshi,

11-miltiq, 12- miltiqpichoq, 13-egrinaqsh, 14-gajaktanga, 15-mehrobi, 16-yulduzgul,

17-kuzagul, 18-koshingul, 19-tanga, 20-ilonboshi, 21 -islimi mashadi.

148 M. Rakhimov

Ü P

..»«Ç'r;

11

J*

^*

14

Illustration L. Elements of ornaments, which used for decoration (Khorezm).

Illustrations 149

^=7^

Illustration LI. New ornaments which used in ceramic decoration of Uzbekistan.

1 -islimi pahta (Gizhduvan), 2-pahtagul (Khorezm), 3-aeroplan (Gizhduvan), 4-pahta

(Shakhrisabz), 5-6-aeroplan (Gizhduvan), 7-palakgul (Samarkand), 8-popishak

(Shakhrisabz), 9-zogcha (Shakhrisabz), 10-baliq (Shakhrisabz).

150 M. Rakhimov

IQTgTS ^A^\ \£\£\

-w^wm^è

^r . <^>-í c^i c£>¿ <^.

3SSSSS5KS XSSXC

8H811I IliliMll10 11

fZ fj

Z4-

/â

Illustration LU. New elements in decoration of ceramic items (Tashkent). 1- siyqa

yul, 2-pechak ut, 3- yaktarafa shoh, 4-kuza, 5-qanoti murg, 6-qayrilma barg, 7-qrama

gajak, 8-ola chipor, 9-chipor, 10-pechalagi oba, 11 -gajak islimi, 12-qubba madohil,

13-sesara madohil, 14-tupsargul,15-islimibarg pahta, 16-mehrobi setora,17-islimi bulut.

Illustrations 151

<$/K^ "\2T\2?

r*

C^C^;^

6 7

<*» fn C»» C» c*v

i fiffffifflp>J> CJ OJ> C^J) CO c-

T t r T

TTT 2*ä2aä&ä

ii 12

10

ck fó ck Meta

13

muu^.'fry^vw

14 15

Illustration LIN. New elements in decoration of ceramic items (Tashkent). 1 -bargiolma, 2-naiza madohil, 3-sodda madohil, 4-koshungul, 5-pahtagul, 6-du gajak,7-qushkuz, 8-chashmi madohil, 9-bargi pandjara, 10-islimi shobarg, 11-tolbarg,12- bargi urama, 13-pandjara zulfak, 14-soldat, 15-qush shohlik zanjira.

152 M. Rakhimov

Illustration LIV. New elements in decoration of ceramic items (Tashkent).

1-du qalampiri islimi, 2-bargi avvali bahor, 3-qush garimdori, 4-lola madohili, 5-palaknusha, 6-qushbarg, 7-palak nusha, 8-paragari gul, 9-mogula, 10-uramapalak.

Illustrations 153

Illustration LV. New elements in decoration of ceramic items (Tashkent)

1-patnisgul, 2-garimdori, 3-oftob nusha, 4-shohlik bofta, 5-urama pargari.

154 M. Rakhimov

APPENDIX I

Some of the famous potters of Uzbekistanin the 19th - early 20th centuries

Map of the Ceramic centres of Uzbekistan

Zhangacfazaly

KAZAKHSTAN $*&-<>"*<>

Turkestan,E

QzhambuLBishke'k>

UZBEKISTANChimkent-

% Oashhowuz 4¿iUr9encnKattabog^fS¿© Khiva

Madir^ * 'sj

A.y- KYRGYZSTAfTashkent .-w" .-K

,g Namangan , .----.,. Gurumsaroy a* "A-j.i,.

k -X Kokand» »Andijan

*gNavoiy Jizzakh _ y. RishtoruC"

ana

ibad-e

Sojnürd

»abzeuär

TURKMENISTAN

. Ashyabat

v Bukhara <»®.,,<¿r- Gijduvon ~ Samarkand

©«Kaspi-^ Karshi*4<iJ:ob

.©

®

B

Mary00R ; Kerk,0Bayramaly

Qüchärr -, -rr^)

^M ash had

©d «oL^u TAJIKISTANboysun Shakhnsyabz ^,. D*noit# ' "Dushanbe ~

.{ v 'i

. FeyçJâbâd j'. ©Terrnez

Andkhv

Mazâr-e0 aKbo,m fondez

Khiva - Madir, Kattabog. Bukhara - Samarkand - Gijduvon, Uba, Kaspi, Samarkand, Urgut, Kitab,Shakrisabz, Boysun, Denav. Toshkent- Fargona - Toshkent, Gurumsaroy, Rishton, Andijon.

Appendix I 155

Rishtan

Abdudjalal-kulol and Abdudjamil-kulol. Brothers, they lived in the mid-1 9th century.They are assumed to have renewed the production of semi-faience crockery (chinni)(1 42, p.p.203, 229).

Abdulla-kulol (1797 - 1872). Nicknamed Kali Abdulla, participated in the architec¬tural facing of Khan Khudoyar's palace in Kokand in the mid-1 9th century. His artis¬tic works are exhibited in the Arts Museum of the Republic of Uzbekistan (1 42,p.203; 11, p. 8).

Alimjan (Alimjan-bacha). Well-known drawer of dolls, worked in the workshop ofKali Abdullah (1 42, p.208).

Abdurasulev, Takhtasyn (1926). Son and student of Usta Madamin-Akhun

Abdurasulev (1 42, p. 206).

Abdusattar-kulol. Master who lived and worked at the end of the 19th c entury (142, p. 203).

Azizov, Abdumadjid (1934) . Contemporary master, the descendant of a familyof ceramists in Rishtan.

Alikhamraev, Akhmad. Well-known ceramist in the late 1 9th - early 20th centuries.Teacher of contemporary master Musa Ismailov (1 42, p. 206).

Artykbaev, Ulmas (1864). Well-known potter-kuzagar (1 42, p. 205; 1 49, p. 71 4).

Akhmedjanov, Isak. Worked at the beginning of the 20th century. He passed on hiscraft to his son Urinbay who currently works as a ceramist (1 42, p. 206).

Baba Boyniyazmatov, Melibay (1837-1917). Worked together with his wife who was

a well-known drawer. He introduced into Rishtan ceramics production a new tech¬

nique called tagi siyoh, which he had learned in Gijduvan. Since that time, the tech¬

nique of painting on black-brown engobe with a scratched ornament has been highlypraised in Rishtan, and crockery items (toboq and shokosa) made by this masterare kept in his relatives' houses. Some of the master's artistic works are in the

156 M.Rakhimov

History Museum of Academy of Sciences of the Republic of Uzbekistan (1 42,

p.203).

Babakhodjaev, Zamzam (1931) . Descendant of a family of ceramists in Rishtan.

Boltabayev usta, Kasym (1866). Master who produced vessels decorated with re¬

lief ornamentation (1 42, p. 205-206).

The Boltayevs, Abdukamal and Tashpulat. Contemporary masters. Usta Tashpulatis a student of Musa Ismailov.

Gaziyev, Mayakub (1862- 1922). A well-known master in the 19th century, his speci¬

ality was chinnisoz. He was the last aksakal of Rishtan kulols. His works are in the

Arts Museum of the Republic of Uzbekistan, collection 1 4, inv. 1 83, 84, 1 37, (1

42, p.203; 1 49, p.715).

Dadabayev, Akhmedjan (1913). Contemporary master, specially educated (1 42,

p.206).

Daliyev, Alibay (1911). Experienced contemporary master, the descendant of a familyof ceramists in Rishtan.

Jabbarov, Mazair (1874). Well-known master, worked together with usta Manon

Magaipov. His works are in the Arts Museum of the Republic of Uzbekistan, collec¬

tion 1 4, inv. 1 124 (1 42, p.203).

Zairov, Nishanbay (1900). Well-known master-kuzagar, the son of usta Mazair

Jabbarov (1 42, p.206).

Ismailov, Musa (1906). One of the most talented masters in Rishtan. In 1935 he

became a student of the ceramics department of Arts Training and Industrial Centre

in Tashkent. In 1 938 he successfully graduated from it, and went back to the Rishtan

artel, where he organized the arts workshop for decorative ware and led it for many

years. He was repeatedly awarded with prizes and rewards for his exhibited artistic

works. The majority of his works are in the Arts Museum of the Republic of Uzbekistan

(collection 1 4, inv. 1 93, 100, 111, 112, 116-119). He participates in all applied

arts exhibitions (1 42, p.206).

\srailov, Ergash (1893). Specialist in producing figurines of the kuzagarlik type(1

42, p.206).

Kadyrov, Khashim (1930). Contemporary mold master.

Appendix I 157

Kamilov, Ibragimdjan (1926). Contemporary master.

Kasymov, Rustam (1893). Worked together with his son usta Khatam. In addition to

mass production items, he produced figured jugs for special order (1 42, p.206).

Magaipov, Mannon (1891). Worked together with master Mazair Jabbarov. The most

famous are his cups colored brightly in Gijduvan style on dark brown background.

Madyusupov, Akhmadilla (1931). Student of usta Nishan (1 42, p.206).

Madaliyev, Masali-kuzagar (1898) Toy master.

Marasulev, Mashakir. Worked at the end of the 19th -early 20th centuries (1 42,

p.204).

Masadik usta. Student of Rishtan master Baba-Khodji Mirsalimov of the 19th cen¬

tury. He is famous as a producer of figures.

Mamadbek-kulol. Famous master, lived at the end of the 19th century (1 42, p.203).

Makhmudov, Yigitali (1935). Contemporary master.

Miralimov, Mirkamal (1896). Master-kuzagar (1 49, p. 71 5).

Mirsalimov, Baba-Khodja-kuzagar (1876-1 920). Son and student of the master Baba-

Salim. Usta Baba-Khodja gained the experience of his predecessors, and produced

artistic ceramics works of much better quality. Usta Baba-Khodja produced various

stamped items: mainly jugs decorated with relief engraved ornamentation. His prod¬

ucts included urdak-obdusta, khuroz- obdusta, kush- obdusta, gilrdirak- obdusta,

obdusta-movi, etc. According to the information provided by current Rishtan mas¬

ters Khalmat Yusupov and usta Sali-Kari, at the beginning of the 20th century, the

master Baba-Khodja produced a clay samovar that was exhibited to the public in

Ferghana (1904-1905), and the Rishtan headman Shakir-Mingboshi awarded him

a silk robe and gold medal (1 42, p.203; 1 49, p. 714-715).

Mukhsin-usta-chinnisoz. Lived in the second half of the 19th century. He worked

together with the famous master Abdullah-chinnisoz in the 1850s. (1 42, p.203).

Mullah Madamin-Akhun & Abdukhalik Abdurasulev. Brothers, worked in the early

20th century. The most famous was usta Madamin, the apprentice of usta Abdullah

(1 42, p.p.203, 205).

Nigmatullaev, Khikmatulla. Famous master in the 19th century (1 49, p.716).

158 M. Rakhimov

The Nishanovs, Babadjan (1929), Abdusattar (1928) and Abdukakhkhar (1940).

Apprentices of usta Nishan Zairov, specially educated (1 42, p.203).

Ochaanar (died in 1885). Artist, wife of usta Abdullah-chinnisoz.

Palvanov, Khatambay (1928). The Razikovs, Kurban & Bakhritdin. Contemporaryceramists in Rishtan.

The Rustamovs, Talibbay (1936) & Khatambay (1941). Contemporary masters.

The Sattarovs, Sali-kuzagar (1898), Marajab (1907) & Khakimdjan (1930). Usta

Sali was the head of the artistic workshop of the ceramics artel for many years (1

1,p.8).

Sufi-aziz. Ceramist in the late 19th - early 20th centuries, chinnisoz, worked to¬

gether with usta Uzak Shermatov.

Tadjialiev, Akbarali (1928). Contemporary master-kuzagar.

Takhta-bacha. Lived in the late 19th century and was one of the best ceramists in

Rishtan in the 19th century. The apprentice of master Zarif from Khodjent, he pro¬

duced tableware of the chinni type. Some of his works are kept in the Arts Museum

of RU - collection 1 4, inv. 1 134, 138, 247, 249, 296, (1 1, p. 8; 1 42, p.203).

Takhtaev, Abdullah-kuzagar. Probably son of Takhta-bacha (1 49, p. 741).

Usmanov usta Khaidar-kuzagar (1907). One of the masters in Rishtan in the early

20th century (1 1, p. 8).

Urunbaev, Sultan Akhmad (1930). The apprentice of usta Akhmedjan Dadabaev

(1 42, p.206).

Khalimov, Kendjabay (1930). Contemporary master, studied in Tashkent.

Khamidov, Rasuldjan (1932). Contemporary master.

Shakirov, Tursunbay (1925). Contemporary master.

Shermatov, usta Uzakbay (1871-1957). Master safidpaz. He was a hereditary spe¬

cialist. He studied pottery and also faience (chinnisozlik). His teacher was the fa¬

mous master-chinnisoz usta Mullah-Madamin-Akhun. He began to work in the artel

in1918, from the time of its establishment. Usta Uzak was the best producer in the

artel. He constantly surpassed the quota and actively participated in organizing

Appendix I 159

exhibitions. His best works are exhibited in many Uzbek museums. He paid much

attention and time to teaching new masters. His apprentices are such well-known

masters as Teshabay Ismailov, Melibay Boyniyezmatov, Mamanazar Aripov, Isak

Akhmedjanov, Urunbay Tadjimatov, etc. Many of his students currently work as pot¬

ters (1 42, p.203).

Yunusov, Kholmat (1874). One of the best Rishtan masters in the early 20th cen¬

tury. All his family members know pottery but produce works irregularly (1 42, p.p.

203-204).

Kokand

Bay-bobo-chinnisoz (died in 1876). Worked together with the famous chinnisoz

Mirbadal. His works are in the Arts Museum of RU - collection 1 4, 329, 651, 223,

276 (1 1, p. 10, drawing 17).

Mirbadal (died in 1880),. Famous Kokand nakkosh, decorated chinni ware.

Mirkhodi-kulol (died in 1888) . Student of the famous Kokand master Bay-bobo (1

1, p. 10, drawing 16).

Musa-Kanibadami. Specialist in ceramic painting. His teacher probably was Bay-

bobo as usta Musa lived and worked in Kokand, though he was born in Kannibadam.

His works are in the Arts Museum of RU - collection 1 4, 241 , 272 (1 1 , p. 1 0).

Mukhammad-Muradov Shermat (died in 1881). Kulol-kuzagar.

Mukhammad-Sidikov Sabirdjan-chinnisoz (died in 1925). One of the last chinnisoz

in the Ferghana Valley. Produced ceramics ware and facing ceramics material.

Usta Sabirdjan was trained in ceramics art by Kannibadam master usta Khodji-

Nigmat-Kannibadi, under whose leadership he worked for 7 years. After usta Nigmat's

death, he began to work independently. Together with brothers-builders Umardjan

and Shakirdjan he participated in building the madrasah Kamol-kazy in Kokand in

1913. Umardjan-usta was the chief master. Sabirdjan produced the glazed tile fac¬

ing of the building, Shakirdjan decorated the interior. His crockery of chinni style is

in the Arts Museum of RU - collection 1 4, inv. 1 1 23.

The Shermatovs, Abdukhafiz (1928) and Abdukhamid (1927). Usta Shermat

Mukhammad-Muradov, their father, trained them.

Yakubov, Djurabay. Contemporary master who produces traditional simple crock¬

ery.

160 M. Rakhimov

Margelan

Iskhakov, usta Sattar (1896). Produces crockery of the kuzarlik type.

Makhmudi, Margilani-kulol (died in 1885). There is one item in the Arts Museum -

collection 1 4, 100 (1 1, p. 11, drawing 25).

Rakhimberdyev, usta Siddik. Contemporary talented master.

Satvaldyev, Khakim-kuzagar (1900). Well-known contemporary master.

Satvaldyev, usta Turab-kuzagar (1897). Well-known ceramist.

Sirajitdinov, usta Mumin,. Well-known master.

Usmanov, Kenja-kulol (1895). Towns in Andijan Province

Azimov, Khalil-kuzagar (1838-1925). Well-known Andijan master.

Alimbay Khodja-chinnisoz (1830-1 900). Skillful master in producing small items (kosa,

dukki-kosa). His son Kasym-kosagar also was a famous master (1850-1920).

The Artykovs, Abdujabbar (1905) and Abdusattar (1910),. Contemporary masters.

Ayubdjan-kulol (1915). Contemporary master.

Gaibbay-kosagar (1871-1945). Skillful nakkosh who produced works decorated

only with painting by hand.

Djura-kashinpaz (died at the end of the 19th century). Produced beautiful ceramic

crockery and facing material and participated in the building of the Djuma mosque

in Andijan, making ceramic architectural facing. The skillful ceramist ustaT. Isakulov

worked with him.

Zunnunov, Madamindjan (1925). Contemporary master.

Isakulov, Tadjibay (lived at the end of the 19th - early 20th centuries). Was a first-

class master, could form crockery and decorate it, and also produced various fig¬

ured ware o'rdaq. Worked in the workshop of usta Djura-kashinpaz.

Kadyrov, Sagdulla (1925). Contemporary master.

Kamolkhodja-chinnisoz (1822-1902). Well-known master in the 19th century.

Appendix I 161

The Karabaevs, Talibdjan (1934) and Khashimdjan (1931). Contemporary masters.

Kurbankhodja-chinnisoz (died in 1870). Well-known Andijan master (1 1, p. 11).

Mamadaliev, Tursunbay (1930). Contemporary master.

Mamadaminov, Madamin (1891). Works in Leninsk, produces decorated crockery.

Mamadjanov, Fattakh. Works in the factory in Leninsk, he is considered to be the

best ceramist in Andijan province.

Mirzaev, Mirza Khamdam (1906). Apprentice of the master Isakulov, works in Leninsk.

The Nurmatovs, Karabay (1886) and Abdukadyr (1857). The best kuzagars in

Andijan. Their father usta Nurmat Mukhamadshukurov was a well-known kulol. The

brothers produce works of the oqpaz type, covered with white enamel and deco¬

rated with traditional stamped ornamentation in the forms of stars, circles, etc. Their

ordered works are hand painted.

Rakhmatberdy-kulol (1882-1950). Great specialist in producing wonderful crockery

covered with ishkor and lead glaze.

Khodja-kulol-chinnisoz (1815-1890). Teacher of usta Nurmat Mukhammedshukurov.

The Khodjiyarovs, Zununbay (1890) and Askar (1905). Their father passed on his

skills in producing pottery to them. They work in Andijan.

Emini Andijoni-kulol (died at the end of the 19th century). Worked in Uratyube for a

long time. Then until his death he lived and worked in Andijan. In 1 925 M. S. Andreyev

bought his works, and they are currently in the depository of the History Museum of

the Republic of Uzbekistan (1 1, p. 11, drawing 23).

The Yunusovs, Abdusamat (1910) and Abduvakhab (1915). Contemporary mas¬

ters.

Yusup-kulol (died at the beginning of the 20th century). Well-known Andijan master.

Namangan

Abdugani-kulol. Contemporary master, the apprentice of usta MamasadykIbragimov.

162 M. Rakhimov

Abdukadyrkhodja. Lived in the mid-1 9th century. Teacher of the usta Mamadali

Khalikov.

The Abdullaevs, Kamal-kosagar (1890) and Atabay (1902). Contemporary mas¬

ters.

Abdurazzak-chinnisoz. Well-known master in Namangan in the 19th century.

Abdurazzakov, Khalmirza-kuzagar (1892)

Agalikbayev, Sativoldy (1860-1940). Kuzagar and tagarapaz, he was the last aksakal

of potters in Namangan.

Azizov, Yusupjan (1910). Contemporary master.

Arifbayev, Abdurakhman (1886-1917). Hereditary master- koshinpaz and chinnisoz.

He made ceramic facing for the madrasah of Kirgizbay and Ataulla-khan in Namangan

at the beginning of the 20th century. Namangan ceramists usta Nurmirza and Dali-

kulol, and the Chust master Abdurakhman-chusti were also engaged in building the

madrasah.

Akhmedjanov Kukvoy-kuzagar (1890). Well-known Namangani master.

Akhundjanov, Khalmirza (1909). Contemporary master.

Bakidjan-chinnipaz and koshinpaz (1837-1 912). Well-known Namangani master who

went to work in other regions. According to the information provided by his grand¬

sons and other kulols, at the end of the 1 9th century, he went to Samarkand, where

he restored ceramic facings of historical monuments. He produced fine ware of the

chinni type covered with white tin enamel.

Boyi-Namangani (1885-1930)1 One of the best masters in Namangan, he had a

workshop where about ten apprentices worked (1 1, p. 11, drawing 24).

Dali-kulol. Master who produced artistic household ceramics in the 19th century.

The Ibragimovs, Tashpulat (1890) and Mamasadyk (1896). Experienced contem¬

porary Namangani masters-kosagars, grandsons of famous usta Bakidjan. They

trained numerous apprentices who now work at ceramic enterprises in Namangan.

Madrakhim-kosagar (1852-1930). Well-known ceramist at the turn of the 19th-20th

Appendix I 163

centuries.

Muradov, Abdullah (1917). Contemporary master.

Mukhamedjan-kulol (1875-1940). Specialist in producing small ceramic householditems.

Nizamov, Khalmirza (1927). Contemporary master.

Nurmirza-kulol. Lived in the 1 9th century. He was famous for producing chinni ware.

His teacher was the famous Namangani master usta Nurmirza-kulol.

Tillyakhodjayev, Tashkhodja (1886). The best contemporary master in Namangan,

son of Abdudjabbarov, grandson of Dali-kulol, well-known ceramist in Namangan.

He produces tableware and various new items: ashtrays, milk jugs, flat dishes.

Grand master at artistic painting. During 50 years of creative work, he trained many

apprentices who now work at the ceramic enterprises in the town.

Khalikov, Mamadali (1900) . Hereditary master, apprentice of usta Khydaybergen

Bakidjanov. Skillful molder and nakkosh. His works are in the Arts Museum - collec¬

tion 1 4, 95,110, 120.

Khudayberdy-chinnipaz (1842-1914). Was famous for producing chinni dishes ofmedium size.

The Sharipovs, Tadjibay (1870-1954) and Sharafitdin (1895). Well-known kosagars

and kashinpazes. Sharafitdin was famous as a producer of large works. Together

with his father, master Sharip Kadyrbayev, he went to Rishtan to master his skills.

Being a famous master, he went to work in other towns. Tadjibay participated in

facing works in Kokand.

Yusupov, Khamrakhodja (1937). Contemporary master.

Chust

Abdurakhman-chusti. Well-known master-chinnipaz at the turn of the 19th -20th

centuries.

Abidov, Validjan (1895). Contemporary kulol, worked at ceramic artels.

Djamalitdin-chusti (1805-1875). His works were very popular in Kokand, Samarkand

164 M. Rakhimov

and Bukhara. He worked together with his younger brother, usta Matbobo-chusti

(1 1, p. 10, drawing 20).

Matbobo-chusti (died in 1900) . The younger brother of usta Djamalitdin, famous

master. He was nicknamed "china" due to his fine painting and imitation of China

works. His work is in the Arts Museum - collection 1 4, inv. 1 248 (1 1 , p. 11,

drawing 21).

Bukhara

Kurbanov, Khodja. Lived and worked in the first half of the 19th century. He was a

connoisseur of Gijduvan glazes. According to the information provided by masters,

he could make luster enamel (1 36).

Gijduvan

Abduaziz-kulol (1793-1878). Painted crockery with ¡mages of birds and animals.

Abduakhad-kuzagar.Ku\o\ at the turn of the 19th -20th centuries (1 42, p. 187).

Abdugani- kuzagar (1878).(1 42, p. 187).

Abdukasym- kuzagar (1868)

Abdurakhman-kulol. (1 42, p. 187).

Abdusamat-kulol. (1 42, p. 187).

Abdusattar-nakkosh (1870-1925)

Azimitdin-kulol (1860-1930)

Azim-kulol (nicknamedAzim-Shaitan) (1875-1945). Well-known master from kishlak

Uba.

Ashur-kulol, master-kuzagar. Lived at the end of the 19th century (1 42, p. 187).

Babdjanov, Sadulla-kuzagar (1860- 1956). Master well-known for producing clay toys

in kishlak Vabkent.

Babakhusan-kulol.UasXex, lived in the second half of the 19th century (1 42, p.

187).

Appendix I I 165

Bakidjan-chinnipaz (1790-1860). Famous master in the 19th century (1 42, p. 187).

Djabbar-kuzagar (1919)

Djurayev, Shodi (1906). Master-kosagar.

Kabil-aksakal. (1 42, p. 187).

Ismaildjan-chulok. (1 42, p. 187).

Kasym-kuzagar (1817-1902)

Mahmud-kuzagar (1916)

Mullah Abdugafur-kuzagar (1850-1920)

Mullah Avez. (1 42, p. 187).

Mullah Kurban. (1 42, p. 187).

Mumin-kulol. (1 42, p. 187).

Mukhamedjan-chulok. (1 42, p. 187).

Nazirullayev, Ibadulla (1927). A first-class master-molder and nakkosh. The appren¬

tice of Usman Umarov, he currently manages the ceramic workshop at the

Promkombinat in Gijduvan. His works are of great artistic value (1 42, p. 189).

Narzi-kulol. Master in the second half of the 19th century (1 42, p. 187).

Radjab-gurdji. Worked in the workshops outside Gijduvan (1 42, p. 187).

Rakhimova, Khamra (1901). Well-known master who produces clay toys, works

together with her son master-potter Abdukakhar (1 60) in the kishlak Uba.

Rakhmanov, Salim-kuzagar (1898). Works in the kishlak Vabkent.

Ruziev, Djabbar (1912). Works in the kishlak Vabkent.

Rustambay-kugazar (1840-1930). Well-known master in the second half of the 19th

century, specialist in producing large works.

Sadykov, Mukhammed (1850-1920). He is considered to be the founder of pottery

production in Gijduvan. He worked together with his son Mukhamedjan and trained

166 M. Rakhimov

many apprentices, including the best master in Gijduvan- usta Usman Umarov (1

42, p. 187).

Sadyllayev, Fatkhulla-kuzagar (1908). Works in the kishlak Vabkent.

Said Akhmad-kosagar (1835-1900)

Tursunov, Achil (1901). Master at producing tableware of the kosagarlik type.

Umarov, Usman (1899). One of the best masters in Uzbekistan, usta Mukhammed

Sadykov trained him. He produces not only crockery of various designs but ceramic

facing materials as well. He was repeatedly awarded prizes for wonderful artistic

ceramic works. Well-known masters Mullatash Abdullayev, Khikmat Atayev, Shukur

Khalilov and others were his apprentices (1 42, p. 189).

Khodji Sharifdjan-ishkorpaz (1815-1890). Master, specialist in making potash for

glaze.

Shamsi-bibi (1886-1956) .Well-known master at producing clay toys, worked in the

kishlak Vabkent, teacher of master Khamra Rakhimova.

Shamsitdin-kalta (1825-1900). Ceramist-painter.

Shamurat-kulol . Gijduvani master in the 19th century. Some of his works are in the

Samarkand Museum (1 42, p. 187).

Sharafitdin- Gijduvani (779iM8S5).Master-chinnipaz

Ergashev, Tosh (1900). Experienced master-kosagar. Some of his works are in all

the museums of the country (1 42, p. 187).

Yusupov, Makhmud-kuzagar (1933). Works in the kishlak Vabkent (1 42, p. 187).

Kitab

Raufov, Khamid (1906). Contemporary master, works at the ceramic enterprises

in Kitab.

Tursunbayev, Mukhammed Radjabbay. Contemporary master, some of his works

are in the Arts Museum - collection 1 4, inv. 1 1 3.

Appendix I 167

Kassan

Atayev, Khamra (1878). Contemporary ceramist, hereditary kulol.

Bazarov, Khamra. He is also known under the family name Matbazarov.

Bakayev, Masharif-baba (1893). Master-kuzagar.

Babamuratov, Zainutdin (1900). Master-kuzagar, son and apprentice of the well-

known master usta Baba-Murat, 19th century.

Vakhidov, Davran (1885). Hereditary kulol-kosagar.

Kendjayev, Ali (1904). Contemporary master.

Maksudov, Umar (1909). Master-kosagar.

Mamadraimov, Khalik (1903). Master-kosagar.

Said-chinnisoz (1812-1880) The last Kassani master-chinnisoz.

Karshi

Abdukadyr-chinnisoz (1827-1892). Well-known master in the 19th century.

Vaisov, Imomkul (1897). Master-kuzagar

Mirza Khamdam (1820-1890). One of the last master chinnipazes.

Sattar-kulol. Lived at the end of the 19th century, father and teacher of the masters

Sattarovs.

The Sattarovs, Aymurat (1907) and Gulmurat (1912). Well-known kulols from Karshi.

Went to work in neighboring regions (Chirakchin, Komusho, Kassan). Besides vari¬

ous crockery, Aymurat-usta produces clay toys that are very popular throughout

neighboring regions.

Khalilov, Amman (1906). Contemporary master.

Khamdamov, Klich (1832-1892). Well-known chinnisoz, trained many masters in

Karshi and Kassan. His father usta Khamdam, master chinnisoz, trained him.

Khamrayev, Aman (1906). Master-kuzagar, his father Khamra Atayev, well-known

168 M. Rakhimov

kuzagar from Karshi, trained him.

Shakhrisabz

Abdunazarov, Khazratkul (1862-1931). One of the best kulols in Shakhrisabz, teacher

and father of the contemporary ceramist Khazratkulov.

The Igamberdyevs, Rustam-bobo (1891) and Khazratkul . Usta Rustam is a skillful

master of pottery, a teacher of many contemporary masters ("Pravda Vostoka", 4th

January 1952) (1 42, p. 154).

Kudratov, Giyasitdin (1840-1905) . One of the famous masters in Shakhrisabz in

the 19th century.

Kadyrov, Khatam. Kudratov's uncle, a famous kulol in Shakhrisabz.

Mirzakulov. Contemporary master, some of his works are in the Arts Museum -

collection 1 4, inv. 1 268.

Mukimdjan-kosagar (1808-1890). Produced crockery of chinni type.

Muzafarov, Abduakhad (1935). Master-laganpaz, apprentice of master Rustam-baba

Igamberdyev.

Radjabov, Gulyam. Contemporary master, worked in Gijduvan, as well (1 18).

Rakhmatov, Mukhsin (1928)

The Rustamovs Igamberdy (1873) and Turdyali (1935). Hereditary ceramists, sons

of the well-known master Rustam Igamberdyev, work at the ceramic enterprises in

Shakhrisabz. The elder brother is a very good molder and nakkosh.

Tursunov, T. Contemporary master, studied in Tashkent artistic Promkombinat.

Umarkulov, Nigmat. Contemporary master, Khazratkulov's apprentice.

Usmanov, Vakhid. Contemporary master, went for temporary work to Samarkand.

Khazratkulov, Kahm (1895) Talented contemporary master, successor of the

famous school of Shakhrisabz masters of the 19th century. His father and uncle

Khazratkul and Rustam-bobo Igamberdyev passed on their skills to him. He trained

many contemporary masters, the most famous of whom are Khazrat Abdusattarov

(1 927), Aziz Pulatov, Fayzulla Khudaikulov (1 908) and Rakhmat Eshmukhammedov

Appendix I 169

Denau

Zukhurov, Rasul (1935). Contemporary master, works under the teacher - master

Badal Khalilov.

Khalilov, Badal (1905). Contemporary master-kosagar, molder and nakkosh.

Samarkand

Abduvakhid-kosagar (1829-1914). Well-known master.

Abdugappar-chinnisoz. Well-known master (1 48, p. 35), his works are in the Arts

Museum - collection 1 4, inv. 1 65, 1281, 1284 (1 49, p. 634-636).

Abdurakhman-ishkorpaz-nakkosh (died in 1938). Well-known master at producing

works covered with white enamel ishkor.

Abdufayzi. One of the well-known master ceramists in the 19th century (1 59, p.

200).

Aminbayev. One of the outstanding masters in the 19th century (1 59, p. 200).

Ashurov, Turakul (1883-1944) . Kulol-togorapaz, hereditary master.

Bakhriev, Nigmon-kosagar (1920). Contemporary master who produces traditional

crockery.

Gafurov, Abdunasim (1920). Hereditary master, produces both household crockery

and facing ceramics.

Gulyam-usta (died in 1938, when he was 63-68 years old). The famous master usta

Khidoyat from Kattakurgan passed on his skills to him. He worked in Kattakurgan

about 8 years, then in the 1930s went to live in Samarkand, where he continued to

produce painted crockery. He was a teacher of master Azimmurat Khodjaev.

Djurakulov, Umarkul (1894) Well-known hereditary master-kuzagar, participant of a

number of decorative-applied arts exhibitions both in Uzbekistan and Moscow. He

was given the title of National Artist of Uzbekistan. His works are in all museums of

Uzbekistan. He trained several apprentices: Kadyr Muratov (1934), Nigmat Faisiyev

170 M. Rakhimov

(1929), Abdullah Khakberdyev (1922) and others. (1 56, p.p. 6-7).

Karaev, Karim (1893-1951). Worked at the ceramic artel "Gornyak."

Kurbanov, Tair (1886-1951),. Worked at the ceramic artel "Gornyak."

Mukhamadiyev, Abdullah (1924). Ceramist-painter, graduated from Tashkent Artis¬

tic College named after P.P. Benkov.

Nurmukhammat-usta/ One of the best masters in Samarkand in the early 20th cen¬

tury (1 48, p. 35).

Nurcha-kulol, died in 1860. (1 1, p. 11).

Rakhimdjanov, Rafikdjan (1881). Works in Djizak, produces traditional crockery

painted in yellow and brown colors covered with lead enamel.

Safarbay-kulol. Outstanding kulol in the early 20th century (1 49, p. 636).

Sultan-khodja. One of the best masters in the early 20th century (1 48, p. 35).

The Turdyevs, Bobomurat-kosagar (1900) and Mukhammad-Alim (1914). Produce

traditional crockery.

Turdyevusta Mukhammedjan-kosagar (1 891). Contemporary master who produces

traditional crockery.

Fazyl-usta (died in 1860). Hereditary master, known in the late 19th century (1 1,

p. 11).

Khakim-khodja (died in 1891). Hereditary master, known in the late of 19th century

(1 1, p. 11).

Khodjaev, Azimmurat (1909). Apprentice of the well-known master usta Gulyam.

He is an experienced master at facing and at restoring architectural ceramics. He

also produces household decorative crockery by request and for exhibitions.

Appendix I 171

Kattakurgan

Babanazar-usta. Well-known master who produced artistic turquoise-green crock¬

ery covered with ishkor enamel at the turn of the 19th-20th centuries.

Ibragim Bobo-kuzagar (died in 1910 at the age of 80). At the beginning of the 20th

century, he worked in the brigade headed by the well-known Kattakurgani master

usta Khidoyat, producing painted and unpainted household crockery.

Salim-sozanda (died in 1908 at the age of 70-77). He was one of the best masters

at forming large crockery.

Turdy-baba- sozanda. He worked in the brigade together with the well-known mas¬

ter usta Khasan-baba. A skillful grinder of large crockery, he produced mainly works

without enamel but covered with engraved drawings.

Khasan-baba (died in 1875 at the age of80-82). Produced wonderful brightly painted

crockery covered with ishkor enamel and worked in the brigade headed by usta

Bobonazar.

Khidoyat-baba (usta Khidoyat). Well-known master at the turn of the 1 9th-20th cen¬

turies. He produced wonderful painted crockery and was a brigade-leader of mas¬

ters. His works (probably he made them with his son) are in the Arts Museum -

collection 1 4, inv. 1 19, 21, 22, 37, 41, 42, 49, 56, 58, 60, 127, 128, 235.

Khidayatov, Mukhitdin-kuzagar (died in 1935). Hereditary master, son of the well-

known master usta Khidoyat. According to the information provided by Assadulla

Khudaynazarov, usta Mukhitdin produced wonderful painted crockery coveredwith ishkor and lead enamel.

Khudaynazarov, usta Assadulla-kosagar (1902). Hereditary master, produced tra¬

ditional crockery, worked as a trainer in ceramics in Tashkent and Samarkand. He

participated in exhibitions many times.

Shababayev. Contemporary master, his works are in the Arts Museum of Uzbekistan

- collection 1 4, inv. 1 10, 233, 234, 237.

Shukurov, Nazrulla- kosagar (1894). He worked in the brigade headed by usta

Khasan-baba, and produced traditional painted crockery covered with lead enamel.

172 M. Rakhimov

Tashkent

Aminov, Akhad (1917). Artist-ceramist, in 1932, he graduated from the ceramic

department of Samarkand Arts College, and in 1938, he graduated from the

ceramic department of training and production artistic kombinat Uzpromsovet. He

managed the faience workshop of silicate-ceramic plant 1 2. As a member of the

Uzbekistan Soviet Artists' Union, he is engaged in creative work in the field of artis¬

tic household ceramics. His works are in the Arts Museum of Uzbekistan - collection

1 4, inv. 1 103, 1288, 1292, 1297, 1300, 1301, 1307, 1310.

Ziyamukhamedov, Miryunus (1900). One of the best masters at forming various

vases and jugs and an expert at glaze technique and ceramic painting. He worked

at the artel Baranov for over 30 years.

Zakirov, Shokir-kuzagar (1873). One of the best kuzagars in Tashkent (1 42, p.

164, 171).

Inogam-kuzagar. (1 42, p. 163).

Massandkhodja-nakkosh (died in 1860 at the age of 80-84). According to the old

Tashkent kulols, Massandkhodja was an expert on ceramics and specialist in paint¬

ing crockery. Usta Massandkhodja travelled a lot, visited many towns in Central

Asia and knew very well the ornaments of Uzbek folk ceramic arts. He did not

produce mass crockery, he only produced expensive artistic crockery, baking no

more than three hundred works per year ("he fired his kiln three times a year"). His

products were always of high quality. He also produced faience works of the chinni

type. He is assumed to be the first one to apply the painting technique of scratched

contours that has become widespread in ceramic production in Tashkent since the

end of the 1 9th century. He painted chinni ware following the style of Chinese crock¬

ery that was imported into Central Asia in the 19th century. His apprentice (and

maybe the key master at producing crockery) was usta Satvaldy (from Kashgar)

who continued his business after the death of usta Massandkhodja (1960), and

produced works decorated with Chinese ornamentation elements.

The Miralievs, ustaAkhmad, usta Mukhmmad (1876-1928) and usta Turab-laganpaz

(1878-1951). Well-known ceramists from Tashkent. Usta Turab Miraliev was the

most famous. He used the best traditions and industrial skills of the old masters in

his work, and at the same time, he introduced many new elements. Usta Turab

Appendix I 173

Miraliev paid much attention to training youth, working as a master in the ceramic

department of the Tashkent Training and Industrial Artistic Kombinat. He trained

up to 20 young masters in ceramics: Ulmas Akhmedov, M. Karimov, Pulat Turabov,

Assad Ismatov and others. Some of them currently work at ceramic enterprises and

the porcelain factory. Turab Miraliev painted his works on scratched contours. The

master's works that were exhibited in Moscow and Tashkent enjoyed great suc¬

cess. In 1937, at the International Exhibtion in Paris he was awarded with a silver

medal and diploma for his works. His works are in the Arts Museum - collection 1

4, inv. 1 85, 104, 105, 106, 107, 121, 122 (1 42, p. 164, 171, 180; 1 48, p.51).

Mirkarimov, Talib-kosagar. One of the best masters in Tashkent, he lived at the end

of the 19th century. He trained his son - usta Tursunbay Talibov.

Mirradjabov, Mirbarat (died in 1874 at the age of 90-95). Father of Talib Mirkarimov,

the best kuzagar in Tashkent who came from Bukhara in the first half of the 19th

century.

Mirsaidov, Mirkhogji-laganpaz. One of the best masters in Tashkent. He

worked at the artel Baranov for over 25 years. His works were put on folk art exhibi¬

tions many times.

Mirfuzalov, Yakhya-kuzagar (died at the age of 80-82). One of the best kuzagars,

he produced large crockery. According to the information provided by Tashkent

masters, he was also well-known for making ishkor.

Mullah Shakirmat-domulla (died in 1885 at the age of 75-80). One of the best mas¬

ters at producing chinni ware in Tashkent in the second half of the 19th century. He

worked in the brigade headed by master usta Masaikhodja. He is thought to be the

creator of many interesting ornament compositions both for brush painting and com¬

bined painting.

Muslimov, Abdurakhman-togorapaz (1888-1958). He was one of the well-known

masters at forming large crockery. He worked at the promcooperative artel Baranov

over 25 years.

Nurmukhamedov, Tashpulat- laganpaz (died in 1938 at the age of 70-72). One of

the best masters at producing chinni ware.

Rasul Mukhammad-usta. Hereditary master, but was not engaged in pottery on a

174 M. Rakhimov

regular basis (1 42, p. 163).

Rakhimov, Mukhitdin (1903). Engineer-ceramist, National Artist of Uzbekistan. He

has worked in the field of organizing ceramic production and training of ceramists

over 30 years. He participated at folk arts exhibitions on the regular basis. His works

are in the Arts Museum of Uzbekistan - collection 1 4, inv. 1 1289, 1294, 1295,

1298, 1299, 1302, 1316 (1 42, p. 14).

Rakhmatov, Akhmad (1928). Apprentice of Akhad Aminov, contemporary master

who produces painted works.

Sadykov, Chulpan . Master who produces traditional crockery, the apprentice of

usta Yunus Ziyamukhamedov.

Salikhov, Yusup-kuzagar (1880-1938). Produced works with spot painting under the

name of ola-bula.

Satvaldy-chinnipaz (died in 1885 at the age of 70-75). One of the outstanding mas¬

ters in the 19th century, he produced works of the chinni type. He worked together

with master Masaidjodja, and after his death with usta Mirali.

Sultanov, Yakubdjan-kosagar (1894). One of the well-known masters in Tashkent.

He worked in the brigade headed by Mirkhogji Mirsaidov, and worked at the artel

Baranov for over 25 years.

Talibov, Akhmad (1926). Produces traditional crockery. He is an apprentice of the

well-known Tashkent master-kuzagar usta Shakir Zakirov.

Talibov, Tursunbay-kosagar (1876). One of the well-known masters in Tashkent, the

son of master-kosagar Talib Mirkarimov. He painted works using the chizma tech¬

nique.

Turabov, Kamal (1921). In 1938, he graduated from the ceramic department of the

Tashkent Training and Industrial Artistic Kombinat. For many years, he worked to¬

gether with his father, the well-known ceramist Turab Miraliev, who passed on good

technical and artistic skills to him. Over the last ten years, Turabov was the head of

the artistic workshop of the artel after Baranov. He has also trained a new genera¬

tion of ceramists to master traditional and new technical production skills. He cur¬

rently works at Silicate-ceramic plant 1 2, producing traditional crockery. His works

Appendix I 175

are in the Arts Museum of Uzbekistan - collection 1 4, inv. 1 96, 125, 324. He is a

participant of some decorative-applied arts exhibitions in the USSR and abroad (1

57, p. 14).

Egamberdyev, Farmanbergan-kosagar. One of the well-known masters in Tashkent

(1 42, p. 163).

Yakubdjan-kulol (died in 1900 at the age of 80-82). He was an aksakal of potters in

Tashkent.

Yakhyaev, Yunus-kuzagar (1888). One of the best kuzagars in Tashkent, he worked

in the brigade headed by the well-known Tashkent master usta Shakir- kuzagar (1

42, p. 164).

Towns in Khorezm Province

Abdurakhmanov, Yakub. Master from New Urgench

Alakara-kulol (1862-1932). Well-known potter from Kattabag area. Many contem¬

porary ceramists in Khorezm Province were trained in his workshop.

Allabergenov (1920). One of the best masters in the ceramic workshop in the Khankin

Promkombinat. The master knows production technology and glazing well. He

painted crockery with simple but vivid ornamentation by brush.

Atanazarov, Vafa (1886). Potter from the kishlak Madyr in Khankin district. In the

1930s, he worked at the ceramic artel "Kulollik."

Vais-kulol (died in the early 20th century). Lived and worked in the kishlak Madyr in

Khankin district. He had a large pottery workshop and participated in the facing of

palaces in Khiva. Several students and apprentices worked in his workshop on a

permanent basis. He produced large pottery: togora, xum, kyube, digir, g'oza and

others. He could not only produce a perfect crock but could perfectly glaze the

surface of crockery and facing bricks. He could not paint. Usta Vans gained popu¬

larity due to his facing works. He participated in the ceramic facing of the palaces of

the Khiva Khan. While building the palace of Isfandiyar-Khan and the hospital, he

carried out the coating work (the Khiva post-office is currently housed in this build¬

ing).

Vaisov, Balta (1893-1958). He was born in the kishlak Madyr in Khankin district. He

spent most of his life there. When he was 10 years old, his father began to train him.

176 M. Rakhimov

When he was 20 years old, he began to work independently. Because his father

and teacher, usta Vais, was not an experienced nakkosh, usta Balta did not acquire

skills at painting crockery. To fill that gap, he was trained for some time by his com¬

patriot Madyr master Allaberdy Kariyev, to gain skills at molding and painting table¬

ware. Then, being an experienced master, he was trained to paint pottery by the

well-known Kattakurgan master usta Khidoyat who worked in Madyr about a year.

Usta Khidoyat passed on to usta Balta the chazma method of ornamenting crock¬

ery that was rarely used in Khorezm before. Usta Balta worked a lot in the field of

producing ceramic facing for buildings. He thoroughly examined local raw materials

and techniques of making various glazes. In 1956-1957, the master received the

order to make a great number of light blue and turquoise tiles for restoring the dome

of Palvan-Ata Mausoleum in Khiva. In general, usta Balta painted crockery with

islimi-mashedi, ilon-bashi, ¡slimi-koshini, chorguzon, khushruygul, daraxtgul, etc.

patterns.

Eneberdyev, Atadjan. Potter from Khankin.

Iskanderov, Matdjan (1915). His father, usta Kalandarov trained him, then he stud¬

ied at the Tashkent Training and Industrial Artistic Kombinat. Here he was trained to

use lead glaze, and acquired the skill at chizma painting that was new for Khorezm.

After training, he began to work with his father at the ceramic artel. They produced

various large and small items of ceramics. They glazed the inner parts of large

vessels with earth-alkali glaze (cinders of kara-varak and chogon plants were used

to make ishkor), and tableware with lead enamel. Different glazing techniques de¬

termined the different design of crockery. Usta Atadjan is a specialist in artistic paint¬

ing.

Kalandarov, Iskander (1873). He was trained in the workshops of local ceramists.

He passed on his skills to his son Matdjan with whom he worked over the last 20

years. Usta Iskander is believed to be an expert on local ceramic materials, and he

prepares glaze of high quality using the best ishkor made of the chogon plant (it is

brought from Tashauz). Matdjan is engaged in painting crockery.

Kariev, Allaberdy. Lived and worked in the second half of the 19th century. He was

equally skilled at making pottery and kashin plates for facing buildings. He was a

trainer of many Khorezm kulols, to whom he passed on his skills.

Madaminov, Madrakhim. Kulol and kashipaaz, he lived and worked in the second

half of the 19th century in the kishlak Madyr in Khankin district. He was famous for

Appendix I 177

making recipes for earth-alkali glaze.

Matkarimova, Nabiya. Contemporary master, works at the ceramic enterprise in

Khiva together with her husband, the ceramist S. Sapayev, and is engaged in paint¬

ing crockery. She is obviously a gifted person, as you can feel by looking at her

drawings. She uses different styles: she uses white engobe as a foundation for

manganese oxide (magil) or copper oxide (mis) that looks very impressive under a

bright turquoise glaze. The master's painting in yellow-brown colors under trans¬

parent lead glaze is also interesting.

Matniyazov, Djumaniyaz. Contemporary experienced master. He has worked at the

artel "Uchkun" in Khiva for many years.

Ma'yakubov, Palvan (1889). Lived and worked in Yangi-Aryk. He was a member of

the artel "Kulollik."

Masharipov, Sadulla (1896). Experienced ceramist who worked at the artel "Uchkun"

in Khiva.

Sapaev, Saray (1920). One of the best contemporary ceramist-molders in Khiva, he

was trained in ceramics since his childhood. He currently works at the ceramic

workshop at Promkombinat producing crockery of high quality glazed with ishkor

and lead glaze. The master introduced many original ideas into the form of crock¬

ery. He produces vessels with an almost flat bottom having a little groove in the

middle and vertical walls. His small milk-pails that can be also used as bowls have

a very good form.

Safarov, Artyk (1880). Experienced master, the apprentice of B. Vaisov from Madyr.

He currently works with his son in Shabbaz.

Urazmetov, Ataniyaz (1878). Works in Khiva. He is a specialist at producing crock¬

ery and ceramic facing plates (1 18, p. 7).

Shamuratov, Urazimbet (1878). He was born in Khiva and trained by the famous

Alakara-kulol in Kattabag. He currently works with his son in Khodjeily.

Yusup-kulol (died in 1918). Lived in Khiva and Yangi-Aryk. He trained many appren¬

tices, some of whom became well-known masters. Usta Yusup was a good special¬

ist at producing household ceramics. He painted crockery with ornaments popular

in Khorezm province: islimi-mashkhadi, ilonboshi, miltik-pchok, tanga gajak,

k'oshligul, oqsu, etc.

178 M. Rakhimov

APPENDIX II

Some of the living master potters of Uzbekistan

Appendix II 179

Ashurali Yuldashev was bom in Rishtan in 1941. He inherited

his khowlage from his father, famous ceramist, and the second

representative of ceramists' generation Yuldoshali Rozikov. For

the long period of time he has been researching together with the

Usto Ibrohm Komilov over the secrets of acids used in potteryand have made great contribution to study ancient methods ofpreparing pottery acids. He excellently employs potter's wheel,excellent artist in making patterns, and a real professional wellfamiliar with technological processes. The merits of Usto in pres¬ervation of Rishton traditional style of pottering are immeasur able.Currently, he is actively working over new potteries together withhis sons Zokirjon and Shokirjon Yuldashevs.

Zokirjon Yuldoshev was born in Rishton in 1962. He has re¬

ceived the first lessons of pottering from his father - Ashurali

Yuldashev, famous ceramist, representative of third generationof ceramists. Along with making regular jugs and jars he is ac¬tively involved in making ceramic tiles used in restoration of ar¬

chitectural monuments. Usto Zairjon Yuldashev is actively involvedin making porcelains, and participating in various Republican ex¬hibitions. His is making enormous contribution to preservation ofRishton traditional pottery art.

Sharofiddin Yusupov.He was born in Rishton in 1945. He has

received the first lessons of pottering from his father IsomiddinYusupov, the founder of the dynasty, the famous painter in gold,and learned from acknowledged masters, such as ShakimjonSattorov and Ibrokhim Komilov. Sharofiddin Yusupov, as a pro¬ductive ceramist has made great number of works throughout hiscareer. The works, with the patterns of blossoms of pomegran¬ate, kumgans, guardian-knives, and legendary birds are consid¬ered to be unrepeatable sample of Rushton school of pottery anddisplayed in many international museums. Usto s a full member

of Academy of Arts of Uzbekistan and awarded with special titleof acknowledged as a honored worker of arts of Uzbekistan forhis merits.

Gofirjon Marajapov was born in Gurumsaray in 1940. He hasmastered the secrets of pottery from famos ceramists Usta Kenjaand Usta Makhmud Rakhimov. He is true master in working withthe potter's wheel and in making patterns. He has contributedgreat value to re-establish the tradition of the Gurumsarai school

of ceramics. In the works of the Usta, one can see "larzana",

"beshpanja" (five fingers), "ilonizi" (trace of snake), "buta kozi"(eye of a young camel) and "khayvon shokhi" (horn of animal). Inhis works he uses natural acids based enamel extracted from

specific type of plantings.

180 M. Rakhimov

Alisher Narzullaev.Alisher Narzullaev was born in Gijduvan townin 1953. He has mastered the secrets of this art from his father -

famous ceramist Ibodullo Narzullaev. In the pottery art of Usto,

one can notice wide application of shapes that are quite specificto his works- flat samovar, anchor shaped jugs, lablaba tavoq,

and narrowed neck jars. Master uses traditional patters specificto Gijduvan. The patters include "bodom" (almond), "dastagul"(flowers in the vase), "doiragul" (flowers in the circle), "dumi-tovus"(peacock tail) and "meshrobi". Alisher Narzullaev is full memberof arts academy of Uzbekistan, and acknowledged peoples'master of Uzbekistan.

Jabbor Rakhimov. Jabbor Rakhimov was born in Uba village of

Bukhara Region in 1942. He has learned making clay, whistles,ceramic toys and technique of firing ceramics from his mother -Khamro Rakhimova. He is making camels, horses (sometimeswith a rider), rams, lion cubs, "yakpoya" (bird on one leg), wag¬tails, desert sparrows and other ceramic toys. Master has learnedmaking "nan tandoory" (clay oven for baking bread) from KhakimRakhimov when he was 15. The raw materials Usto uses: in pre¬

paring clay he uses soil from Uba and Shofirkon. In designingpatterns he uses aniline dyes in combination with white-egg.

Ubaro Baboeva. Ubaro Boboeva was born in Uba village of

Bukhara Region in 1938. She has learned the technique of mak¬ing clay toys from her master Khamro Rakhimova. Currently, sheis continuing her activity together with her daughter RanoBakhromova and grandchildren. She is making ceramic toyswhistles, camels, horses with rider, rams, lion cubs, wagtails,

desert sparrows and other ceramic toys. Red and blue colors arethe most used dyes she uses to decorate her works.

Khaidar Baturov. Khaida Baturov was born in Samarkand City.

He is a representative of Samarkand ceramists' school. He hasmastered the pottery traditions from Usto Umar Jurakulov. Mas¬

ter is making "kasas and lagans" (average size deep plates andlarge flat plates). The Usto is trying to re-establish the patters oflegendary animals, birds and plantings that are refleted in thefragments of ceramics found from the archeological excavations.The second direction of the works is ceramic toys and statuettes.Khaidar Boturov has made very expressive statuettes of camel

caravan, little horses, elephants and dragons. Today, he is pass¬

ing the secrets of the pottery art to his children.

Appendix II 181

Sharif Azimov.Sharif Azimov was born in Samarkan city. Hehas learned the secrets of the pottery from his tutor - Usto Umar

Jurakulov, the acknowledged peoples' artist of Uzbekistan. SharifAzimov has developed big variety of pottery jugs. From the stand¬

point of form and shape, the jugs of Sharif Azimov are absolutelyunique and unrepeatable. The exterior part of the jugs is not cov¬ered with enamel; the patterns are either drawn or pressed. Sarif

Azimov is full member of Uzbek Academy of Arts. Usto Sharif

Azimov is passing his skills to his children and apprentices.

Abdukakhor Khakkulov. Abdukakhor Khakkulov is born in

Samarkand city. He has learned the secrets of working with metal,the metal carving from his father, famous craftsman of metal

Abdukakhor Khakkulov. He has perfectly learned the art of metal

craftsmanship, making patterns, metal carving, metal items res¬

toration. He has also actively involved in the course of restorationof historic monuments in Samarkand. His motto is to ensure cor¬

rect method of restoration of historic monuments, preservation

and passing them to next generation. Currently, he is passing hisknowledge ad secrets of ceramics art to his children. The masteris working with his brother, and family members.

Numon Oblokulov. Numon Oblokulov was born in Urgut in 1 964.He has mastered the secrets of ceramics from his father Makhkam

Oblokulov, the acknowledged peoples' artist of Uzbekistan. He isa true successor of Urgut style pottery production. NumonOblokulov perfectly employs methods of making patters on thepotter's wheel. In making patters, the Usto successfully uses thepatterns of sun, continuity of life, "tumorcha" (talisman), leaves of

plantings and mekhrob, In his patters yellowish-brown-orangeand green colors play major role that makes him different from

other school of styles. Usto is passing the secrets of his style tohis son Inomjon Oblokulov and to several apprentices.

Mashrab Faiziev. Mashrab Faiziev was born in Shakhrisyabz in1969. He has learned the secrets of pottery and ceramic tiles

from his father Abdullo Faiziev, famous pottery master. He hasperfectly learned the technique of preparing clay, forming shape,preparation of colors, and tile and pottery firing. Currently, he issuccessfully participating in restoration and tile decoration activi¬ties in Shakhrisyabz and Samarkand. Mashrab Faiziev has con¬

tributed a lot to modern development of Shakhrisyabz ceramictiles production techniques.

182 M. Rakhimov

Sultonboi Otajonov. The acknowledged people's master ofUzbekistan. The successor of the Khorezm blue ceramists' dy¬

nasty. Sultonboi Otajonov is a professional ceramist that perfectlyknows the secrets of local raw materials, use of potter's wheel,

making patters and enameling. He has successfully mastered thepotters' secrets from his great teachers, such as Usto Boltaboi

Voisov, Matniyozov and Yusupov. The major difference of his worksis the specific forms and perfect patterns he uses. The patterns

used by Usto are preserved from the 19th century. Many of hisworks are placed in various museums. The works of Usto are

quite diversed: Besides making the daily ceramic pots, Usto is actively involved in res¬toration of architectural monuments in Khiva. Among his works, one can see bodiyachuqur bodiya, four handle pitchers, and jugs for storing oil. The master in his worksuses sand content clay of Khorezm, angob, and if for the previous works he has been

using glass based enamel, presently he is using enamel of "black leaf" acidic planting.Currently, he is actively passing the traditions of pottering to 7 apprentices.

Odilbek Matchonov. Odilbek Matchonov was born in Madir vil¬

lage of Khonka district in Khorezm Region. He learned the secrets

of pottering from his father - Raimberdi Matchonov, the peoples'artist of Uzbekistan. In his work with the potter's wheel and mak¬

ing patterns, the master uses the tile named "Kalamy". Maintain¬ing the traditions of his teachers, he is developing and improving

the activity of the center for "madir" pottery style. His works in¬clude bodiya chuqur bodiya, double handle jugs and small jugs forstoring cream.Together with his students, Odilbek Matchonov isactively involved in restoration activities of historic monuments.The

raw-materials that Usto uses are: sand content clay, angob and enamel based on small

pieces of glass. Currently, he is working with his brother Matchon Matchonov and fourapprentices in his studio.

Khudoyberdi Khakberdiev. Khudoyberdi Khakberdie is born in

Samarkand city. He has learned the traditions of pottery from ce¬ramist Usto Umar Jurakulov. Khudoyberdi Khakerdiev is an artist

that works in various styles. Majority of kosas and lagans he hasmade are the true examples of Afrosiab pottery traditions. At thesame time, he is successfully using modern materials in his works.

Ceramic toys are another direction of his works. KhudoyverdiKhakberdies is active participant of various national and interna¬

tional exhibitions. The legendary dragons, birds and animals made

out of clay are made with perfect psychological expression of statu¬

ettes. Khudoyverdi Khakberdies is full member of the Uzbek Academy of Arts. In hisworks, Usto uses red clay, gilvata, fire clay and he effectively uses various angobs andsalts. Currently, Khudoyverdi Khakberdies is passing the knowledge of pottery art to hischildren and apprentices.

Appendix II 183

Akbar Rakhimov was bom in Tashkent, in 1 949. He has received

the first lessons of the pottery from his father - Mukhitdin

Rakhimov, the fourth generation of ceramists dynasty, the Peoples'Artists of Uzbekistan. As results of long-term studies, Usto was

able to re-establish enameling traditions of Afrosiyob school ofpottery specific to samonids era, blue ceramics of Timurids era

and technology and patterns specific to Tashkent school of ce¬ramics art. He is the initiator and the lead of the Blue ceramics of

Samarkand Project. The master was actively involved in collec-" tion of data and information about the activity of other famous

masters. Akbar Rakhimov is script author for UNESCO funded video documentary infive parts about Uzbek ceramists. He is an initiator of UNESCO project based "Ancienttechnology, Techniques of preparing clay, dies and enamel" practical workshop for Uzbekceramists, as well as of "Uzbek pottery: patterns, shapes and contents" internationalscientific workshop. Akbar Rakhimov is full member of Uzbek Academy of Arts, awardedwith the title of honored artist of Uzbekistan for merits. Currently, Usta is teaching thesecrets of pottery art to five apprentices in the "Usta-Shogird" (Master-apprentice) school.

Mirzabakhrom Abduvakhobov was born in Andijan in 1950.The first ledson in ceramics he has received from his father

Abduvakhob Yunusaliev, the famous ceramist. He has success¬

fully mastered the skills of using potter's wheel, making patterns,and firing. He has received the classes from Kamol Turopov, fa¬mous ceramist from Tashkent in using press forms in making ce¬ramics. In his works he uses the patterns of "Pillagi","belbogi","charkhpalak", blossoms of pomegranate. Majority of his worksare made in the traditional Andijan specific golden and blue col¬

ors ceramics. Currently, Usto is passing the secrets of the pottery to his sons Kozim,Ulugbek ad Azizbek.

Alisher Rakhimov was born in Tashkent in 1975He received the

first lessons of pottery art from his grand father, MukhitdinRakhimov, the fourth representative of the dynasty. Staring from1985 he commenced to continue taking classes on traditionalpottery at the studio of his father - Akbar Rakhimov. The usta

holds Masters degree in arts defended in the chair of fine arts of

Institute of Arts named after Kamolliddin Bekhzod. Currently, heis creating works in the style of Kushan era pottery traditions,golden pottery of Surkhandarya region Tashkent-Kashgar style ofpottery. Alisher Rakhimov is one of the script authors for UNESCO

funded video documentary in five parts about Uzbek ceramists. He is one of the initia¬

tors of UNESCO project based "Ancient technology, Techniques of preparing clay, diesand enamel" practical workshop for Uzbek ceramists, as well as of "Uzbek pottery:patterns, shapes and contents" international scientific workshop. He is carrying out ascientific study on the issues of evolutionary development of patterns and forms.

184 M. Rakhimov

COLOUR PLATES

XX-XXI century ceramic art

XX-XXI century ceramic art 185

12. Water jug, Ashurali Yuldashev (Rishtan)

13. Ceramic plate, Sharofiddin Yusupov (Rishtan)

186 M. Rakhimov

14. Bowl, Hudoiberdi Haqberdiev (Samarkand)

15. Ceramic basin, Numon Obloqulov (Urgut)

XX-XXI century ceramic art 187

16. Ceramic plate, Alisher Narzullaev (Gijduvan)

17. Ceramic toy- whistles, Jabbar Rakhimov (Uba)

188 M. Rakhimov

18. Ceramic vase, Sultanboy Otajonov (Khorezm)

19. Ceramic bowl, Odilbek Matchanov (Khorezm)

XX-XXI century ceramic art 189

20. Ceramic vase, Mukhammadrasul Zukhurov (Denau)

21. Ceramic plate, Gofirjon Marajapov (Gurumsaroy)

190 M. Rakhimov

22. Bowl, Khaydar Baturov (Samarkand)

23. Ceramic plate, Akbar Rakhimov (Tashkent)

XX-XXI century ceramic art 191

24. Cearamic bowl, Akbar Rakhimov (Tashkent)

25. Ceramic vase, Alisher Rakhimov (Tashkent)

192 M. Rakhimov

Usto Mukhitdin Rakhimov 1903-1985

UstoSalim 1789-1875

Usto karim 1823-1891

Usto Olim Rakhimov 1858-1934

Usto Akbar Rakhimov 1949

Usto Alisher Rakhimov 1975

Shohruh Rakhimov 2002

Author 193

Mukhitdin Rakhimov.

(1903-1985)

Mukhitdin Rakhimov's creativity and art could be considered as an original

experiment as he had studied methods and techniques of different schools of folkceramics of Uzbekistan dated back to the end of the 19th - 20th centuries as well

as antique ceramics, polished Kushan ceramics, medieval ceramics from Afrosiab

and white blue ceramics of Temurides. Mukhitdin Rakhimov had created an original

encyclopedia of the Uzbek art ceramics. In addition, during the 1930s and 40s he

worked out many renovation methods for mosaic and majolica tiles to be used in

restoration of architectural monuments of Uzbekistan. Interpreting a rich scope

of ceramic art heritage, M. Rakhimov really gave a new impulse to the richest tradi¬

tions of Central Asian art of ceramics. His works are interesting in their synthetic

character as they synthesize features of canonic, collective by nature, art and

the author's art, a product of individual creativity.

A person of a great discipline and energy he had left a rich art heritage. The

works of M. Rakhimov are among the pearls which decorate the biggest museums

the State Art Museum of Oriental Peoples in Moscow. The State Museum of

Ethnography in Saint Petersburg, the State Museum of Art of Uzbekistan and

Museum of Applied Arts of Uzbekistan. Mukhitdin Rakhimov combined the art prac¬

tice and scientific research; he was the author of a number of valuable scientific

monographs and articles. His fundamental work "Art ceramics of Uzbekistan"

contains huge scientific data and he was the first to generalize the way of develop¬

ment of the Uzbek ceramics in the 20th century. For this work he was given a scien¬

tific degree of Doctor of Art Critics. For the scientific and art activities Mukhitdin

Rakhimov was awarded an honorable title of the National Artist of Uzbekistan and

the State Prize.

Looking back on my father I would like to note especially that he always was

an example for me in everything: both in his family life and in creativity. Having

studied much from him, I am trying to give my experience and knowledge to my son

Alisher. I think he'll be able to continue properly the matter his grandfather Mukhitdin

Rakhimov initiated. During his life my father had a dream to launch a school and

start teaching. This year we have opened the Master Apprentice School and his

dreams have come true. I believe that a future generation will follow ancient

traditions of ceramic art.

Akbar Rakhimov

194 M. Rakhimov

Glossary

Avval Bakhor, Avvali Bakhor - early spring, spring (or bodomcha avvali bahor

- spring with small almond). The pattern of lines used to decorate the sides of an

item and to outline clearly the border of the central ornamental composition on the

bottom of a dish. Drawn with green paint by Usto Tashpulat Normukhamedov,

Tashkent, 111; Table XLII, 8.

Airi Pargar - wooden compasses, 40; Table 1 , 24-25.

Aksakal - 'white beard'. An elder.

Anjirgul - fig pattern, border ornament, Table XII, 8.

Anor - pomegranate, 113

Anorgul - pomegranate blossom, used in many compositions, mainly to decorate

the bottoms of dishes, and repeated three or four times depending on the size of the

dish. Made with brown, yellow, green and white colors on a red or brown back¬

ground, 88, 91; Table XIII, 17; Table XXIV; Table XXX, 12.

Ari Zanjira - border with small bees. Used for decorating the sides of a vessel,

Table XXXIII, 7.

Arragul - zigzag pattern, sometimes called parragul (propeller). Used for decorat¬

ing the bottoms of dishes and bowls, it is painted with green, dark blue and red

colors. From an item produced by Usto Tasha (Gijduvan), in 1930, Table XXIII, 12.

Asp - horse, 93.

Artel - a craftsmen's cooperative association.

Afshon -shining, 91.

Airplane - airplane. One of the new patterns in ceramic painting, Table LI, 3, 5, 6.

Bayroq - banner, flag (some masters call this pattern birtortar: one technique).

Used for decorating the edges of the sides of some items, 76; Table VII, 14.

Glossary 195

Bayroqgul - banner or flag pattern, 130.

Baliq -fish, 130; Table LI, 10.

Baliqdum - fish tail. Mainly used for the center of dishes. This ornament, consid¬

ered 'classic' (ta'rillik) in Tashkent, is believed to have been designed by Usto

Masaidkhodja Ishan, Table XLVII, 8.

Baliq tumshuq - fish head, Table L,4.

Balgami - items covered with lead/tin light blue glaze, 82.

Bandi Rayhon - bunch of basil. Used to decorate the sides of dishes, it is painted

with yellow, brown and green colors on a dark background. Attributed to Usto

Giyasitdin (early 20th a), Shakhrisabz, Table XXVII, 13.

Bandi Rumi - Roman knot. A border ornament, mainly made by the chizma method.

Attributed to Gijduvani Usto Khodji Sharifdjan Ishqorpaz (second half of the 19th

c); Table XIX, 8; Table XXI, 10.

Bargak - female forehead jewelry. Used to decorate the bottoms of dishes, and

repeated from three to six times, depending on the size of the dish. It is found in

items produced by Usto Bakidjon Chinnisoz, Gijduvan. In Shakhrisabz this is con¬

sidered to be an old pattern, attributed to Usto Abdunazar (first half of the 19th a);

Table XXVI, 11; Table XXIX, 9.

Bargi Avvali Bakhor - early spring small leaves. Used for decorating the center of

dishes. Turap Miraliev (Tashkent) colors this pattern in green and yellow, Table LIV,2.

Bargi Annos - leaves of the Annos plant. Used to decorate the bottoms of dishes,

Table XXXVI, 1.

Bargi Bodom - almond tree leaves. Used in Gijduvan to decorate the edges of

sides of vessels, using chizma and qalami techniques. In Samarkand this pattern is

also used for painting the centers of dishes. Painted in green and dark blue colors;

Table XXI, 12; Table XXXIII, 8.

Bargi Guli Surkh - leaves of a red flower, also called bardi zanjira or bardi plant

border, Table XI, 1.

Bargi Gulnor - gulnor leaves. A component of many compositions, used through-

196 M. Rakhimov

out Uzbekistan, Table X, 4.

Bargi Dolchin - cinnamon leaves, Table XI, 6.

Bargi Zanjabil - ginger leaves. A component of many compositions, Table XIV, 5.

Bargi Zanjira - leaf border, Table XII, 16.

Bargi Zulfak - a leaf-shaped zulfak (female breast decoration). Some masters call

this pattern tumorcha - ladanka. Used on the bottoms of dishes, in black, yellow,

white and green, it is characteristic of Usto Abdukarim Khazratkulov's work, Table

XXIX.13.

Bargi Islimi Rukhak - islimi made of apricot tree leaves of the rukhak kind, Table

XIII, 5.

Bargi Kajak (or Bargi Gajak) - tendril leaves. A component of many composi¬

tions, Table XIV, 12.

Bargi Kovuzbon - leaves of the kovuzbon plant, used as a component of compli¬

cated compositions of the islimi ailanma type - involute islimi , Table XIV, 4.

Bargi Madokhil - leaves in the form of madokhil. A component of many composi¬

tions. Found in the work of Usto Akhad Muzafarov in Shakhrisabz; Table XIV, 8;

Table XXV, 20; Table XXV, 20; Table XXVIII, 5; XLV, 12.

Bargi Morgula - leaves with tendrils. An element of plant compositions, it is called

ruyi bakhor - spring, and is painted in one color only - green. Found in the work of

Usto Turap Miraliev (Tashkent), Table XXIV, 2.

Bargi Mustoi - leaves of the musto tree that grows in Iran, according to masters.

Made with dark blue and green colors. Attributed to Usto Sattar (Rishtan), Table

XIII, 2.

Bargi Mushk - musk leaves. A component of many compositions, Table XXV, 15.

Bargi Mushkianbar - leaves of musk ambergris. A component of many composi¬

tions, this motif is attributed to Usto Abdusydyk-khodja (Rishtan), Table XIV, 9.

Bargi Naiza - leaves with pointed tips. A component of many compositions deco¬

rating the bottoms of vesels, Table XIV, 6.

Glossary 1 97

Bargi Nah'od (or nohot) - pea leaves. A component of many compositions, Table

XXX, 3.

Bargi Olma - apple tree leaves. A component of many compositions, Table LIN, 1 .

Bargi Panjara - lattice with small leaves, Table Llll, 9.

Bargi Rayhon - (basil) leaves. Border ornament, Table Xl,2.

Bargi Sumbit - pussy-willow leaves. Border ornament, Table VII, 32.

Bargi Tumorcha - leaves with ladanka talisman. Border ornament, Table XIX, 20.

Bargi Tug - a ferrule of flag, Table X, 6.

Bargi Khurmo - persimmon leaves. A component of many compositions. Found in

the work of Usto Abduvakhid. (Samarkand), Table XXXVI, 7.

Bargi Chetan - gauze leaves. Found in the production of Usto Akhad Muzaffarov

(Shakhrisabz), Table XXX, 5.

Bargi Chingalaki Khudus - leaves of the asta khudus herb. Used for decoratingdishes, Table XIII, 9.

Bargi Chindagi - leaves of a fragrant plant from China. Found in the items of Usto

Umarkul Djurakulov (Samarkand), Table XXXII, 21.

Bargi Chorkunjai Terma - leaves and a square with dots. An element of many

compositions.Painted with green and dark brown colors,TableXXV,5.

Bargi Shijora - leaves of an herb from India, Table XIV, 7.

Bargi Qalampir - red paprika leaves. An element of many compositions, TableXLIV, 8.

Bargi Qanot - leaves and wings. An element of many compositions, it is found in

the work of Usto Akhad Muzaffarov, Table XXIX, 4.

Bargi QashQarcha - leaves from Kashgar. An element of many compositions, it is

found in the work of Turap Miraliev, Table XLIV, 15.

Beda Gul - a clover flower. An element of many compositions, it is painted with

yellow, white and light brown colors. Found in the items of Usto Akhad Muzaffarov,

198 M. Rakhimov

Table XXVII, 17.

Bekhi Darakhti Noyekh - roots of the poyekh tree which grows in Arabia. An ele¬

ment of many compositions, Table XIV, 17.

Bekhi Sarun - roots of a plant that grows in India. Used to decorate bottoms of

vessels, it is found in the work of Usto Bobo Niyazmat, Table XIV, 15.

Bigiznaqsh - an awl pattern. A border ornament found in the work of Usto Nabiya

Matkarimova (Khiva), Table XLIII, 6.

Binafshagul - a violet. Used to decorate bottoms of dishes, it is repeated three or

four times depending on the size of the dish. Usto Mukhammad Miraliev (late 19th

c.) painted the pattern with green, violet and red-brown colors, Table XLIII, 6.

Birtarafa Shokh - one-sided branch (or yatarafa shokh). A border ornament, Table

Lll, 3.

Birtortar - by one method, 76, 1 1 2; Table VII, 1 3-1 6; Table XLI, 1 .

Bodbezak - a fan. Used for decorating the bottoms of dishes. Attributed to Usto

Shamsutdin-kalta (Gijduvan), Table XXII, 15.

Bodiya - a deep dish with a high base and vertical sides, 13, 116, 120; Table XXIII,

12.

Bodom - almond, 113; Table VIII, 23; Table XXIII, 12.

Bodombarg - almond tree leaf, Table XLIX, 7.

Bodomgul - almond blossom. Attributed to Usto Mukhammad Miraliev. Scratched

onto items using the combined technique; Table XV, 2; Table XLVII, 9.

Bodomzar - many almond trees. Also called chormagz (four nuts); Table XVII, 13.

Bodomi Gajak - turned-in almond. Used for decorating the bottoms of dishes.

Painted with yellow, brown and white on a red background. Found in the work of

Usto Mirzo Kudratullo, Mirzo Palvan and Usto Yuldash (Shakhrisabz), Table XXVIII,

9.

Bodomi sechashma - almond with three eyes. Used for decorating the bottoms of

dishes, Table XXVIII, 8.

Glossary 199

Bodomi Chetan - gauze almond. Used for decorating the bottoms of dishes, it is

painted with yellow, brown, green and white colors, Table XXVIII, 7.

Bodomcha, Bodom - small almond. A very popular element used for border com¬

positions and for painting the bottoms of dishes. Found in the work of Usto Tashpulat

Normukhammedov (Shakhrisabz), 95, 142; Table XXVII, 16; Table XXXIII, 9; Table

XLVII, 7.

Bodomcha Kharroj - scratched small almond; Table XX, 15.

Boykush - owl; 97, Table XXVI, 10.

Bola Tuvaq - child's pot, 70.

Bola Chanoq - child's bowl (Khorezm), 14.

Bordón - a mat, 44.

Bosma (or Bosmagul) - stamp, type of embroidery stitch, method for decorating

by stamping. Bosmagul - a stamped drawing, printed, 53, 109, 130; Table L, 11.

Bosma Nokhot - pea stamp, Table VIII, 3.

Bosmaparparak - 'rotator' stamp, Table VIII, 7.

Bosma Kharroj - engraving and stamp, Table XXVII, 9.

Boftanaqsh - rosette pattern. Used for decorating the bottoms of dishes. Usto

Khidayat (Kattagurgan) colors it using chizma and calami techniques, Table XL, 7.

Bogdodi - from Baghdad.

Bulut- cloud, 107, 114.

Bulut Zanjira - border of clouds. Some masters call this pattern kashgarcha or

khitoycha - Kashgar or China. Found in the items of Usto Turdy, who lived in

Kattakurgan from the early 20th c, Table XXXVIII, 5.

Bulutnaqsh - cloud pattern. Used for decorating the bottoms of dishes. Usto Khodji

Sharifdjan (early 19th c.) painted this pattern with dark blue, green and white colors

on a light blue background, Table XXIII, 11.

Buta, Butagul - bush, bud. An element of many compositions, it is used for deco¬

rating the bottoms of dishes. Found in the items of Usto Muso Ismoilov, 95; Table

200 M.Rakhimov

XXV, 16.

Butachashm - center (eye) of a bud, Table XXX, 2.

Butoqbarg - a shoot with small leaves, Table XLIV, 11.

Buyek Hum - large earthenware pot for preparing paint, 18.

B'oyincha Gul - buckle pattern. Used for decorating the bottoms of dishes.

B'oira - a mat, 44.

B'oiragi - wicker work, matting. Used for decorating the center of dishes. Usto

Said-Akhmad kosagar (Gijduvan, 19th c.) painted this pattern using chizma and

qalami techniques, Table XXIII, 9.

B'oirazanjira - wicker border. Used for decorating the reverse sides of vessels.

Usto Turdy from Kattagurgan painted his items with dark brown, turquoise and dark

blue, Table XXXVIII, 12.

B'ortma - in relief, a bulge. A border ornament, believed to be old. Found in the

items of masters Ibragim-bobo and Khasan-bobo in Kattagurgan from the 19th c,

Table XXXVII, 4.

B'ortma madokhil - relief madokhil. Found on the bottoms of dishes painted by

Usto Mukhammad Miraliyev (Tashkent), Table XLV, 19.

B'og (or buv) - ceramic tube, furnace (In Khorezm - kannay), 18.

B'ogirsoq - round balls of clay whose forms are similar to the b'ogirsok cookie fried

in oil, 32.

Chakmatumor - talisman with dots. Used to paint the sides of dishes and pro¬

duced with the qalami technique, Table XLI I, 1.

Chamangul - a field flower. Used to paint the bottoms of dishes, Table XLVII, 3.

Chamanigulafshon - blossoming meadow. Used to paint bands on the sides of

dishes, Table XLII, 5.

Chanok bodiya -chapiya - small sized deep dish with vertical sides on a high

Glossary 201

support (Khorezm), 13, 116.

Chapiya - a two-handed vessel for sour milk, Table V, 4.

Chapu rost - inverted left and right, Table XIX, 16.

Chapu rost dudandona - two small teeth diverging left and right. A border orna¬

ment, Table XXI, 22.

Charkh - a pottery wheel, 36, 38, 122.

Charkhpalak - a wheel for lifting water, crosspiece, Table VIII, 8.

Charkhi parrak - a spindle. A popular pattern used in many compositions, Table X,

16.

Charkh tovoq - large sized round dish(Ferghana Valley), 13, 69;Tablell, 1.

Chashm - eye. An element used in many compositions for painting, Table XXX, 1.

Chashma - a spring. The pattern is made with a stamp, Table VIII, 2.

Chashmi bulbul - nightingale's eye. A border ornament and popular pattern that

has many versions, Table XIX, 4, Table XX, 5; Table XXXVIII, 13.

Chashmi gov - bull's eye. A popular pattern that has many versions, 75.

Chashmi g'ospand - sheep's eye. A border ornament, Table XXI, 8.

Chashmi zog - raven's eye. A border ornament, Table XXI, 9.

Chashmi madokhil - madokhil with small eye. An element used in many painted

compositions, Table XLVI, 1; Table I I II, 8.

Chashmi mor - snake's eye. An element used in many painted compositions, Table

XLVI, 10.

Chashmi panja - five fingers with small eyes. A border ornament, 99; Table XXVII,

15.

Chashmi taroq - comb with small eyes. Used to decorate the edges and trunks of

glazed and unglazed crockery, Table XXXII, 1.

Chashmi ushtur - camel's eye. A border ornament, 99-101; Table XII, 9; Table

202 M.Rakhimov

XXVII, 24.

Chashmi quyen - hare's eye. Aborder ornament; Table XXI, 11.

Chertak - name of a plant, 95.

Chertaki dandana - teeth of chertak (the plant). A border ornament, Table XX, 6.

Chertaki dutarafa - double-sided chertak. A border ornament, Table XX, 11 .

Chertaki chorhona - small quadrangular shapes with the chertak plant. A border

ornament, Table XX, 7.

Chertma - bargi zanjira - border of plant leaves. Used to decorate the edges of

vessels, Table XXI, 15.

Chetan - lattice, lattice fence, Table VII, 23.

Chetanbo'yrog'i zanjira - border of lattice mat. Used to decorate the sides of

vessels, Table IX, 14.

Chetangul - pattern of lattice fence, 91 ; Table L, 6.

Chibit ko'za - vessel for water, 15,

Chigitgul - pattern of "cotton seeds", Table XXII, 13.

Chizma - engraving, 53, 91,94,102,103,109,111,113,118,130,131.

Chizmabarg - scratched leaf made by engraving. A border ornament, Table XLI.1 0.

Chizmanaqsh - engraving pattern. This pattern is used for ornamental bands on

the sides, Table XXVII, 1.

Chizma hoshiya - chizma-made border, used to decorate the edges of dishes and

bowls. A border ornament Table XXVII, 5.

Chinni - porcelain; semi-faience, 45,64,69,82,84,87,89,105,108,109,132.

Chinnibarg - Chinese leaf. Used in the composition of kashgarcha ornament, Table

XLVI, 6.

Chinni buta - porcelain shoot. Used to decorate the sides and bottoms of dishes,

Table XL, 10.

Glossary 203

Chinni loy - (or oq loy) clay used for producing semi-faience, 43.

Chinni sir - solid white glaze, 64.

Chinnisoz, chinnipaz - a master who produces faience or porcelain tableware,24,84.

Chinni xumdon - a special kiln for baking porcelain, 69.

Chinni mo'xr - porcelain tamga, stamp. Used to decorate the bottoms and trunks

of vessels, Table XVII, 1 .

Chipor - speckled, many-coloured pattern. Used to decorate the edges of dishes,Table Lll, 9.

Chiroqdon - a lamp, 16.

Chirog'i mehrob - niches with lamps, Table XXV, 14, 18.

Chiqqan rax - border, edging, stitch, 49.

Chig 'gul - pattern of hair-pins used to paint the bottoms of dishes, Table XLIII, 7.

Chig'iriq (or chig'ir) - a wheel for lifting water. The pattern is used to decorate the

bottoms of dishes, Table XVII, 10.

Chovgun - a copper vessel used for boiling water in the field, Table XVIII, 23.

Choybarg -tea leaf pattern. This element is used in many compositions, Table XIV,13.

Choygul - tea pattern. Used to paint the bottoms of dishes, Table XVIII, 27.

Choyidish (or choydish) - a copper vessel for making tea. Used to paint the bot¬toms of dishes, 85, 90, 91; Table XVIII, 17,18, 25.

Chopqi - a large knife for cutting meat. An element used to paint the bottoms ofdishes, Table XVIII, 4,5.

Choragi, choragi qulqulcha - a vessel with one handle and a high narrow neck,15.

Chorbarg or "pati zog'" - quarterfoil or feathers of raven. An element used to paintthe bottoms of dishes, 101; Table XIV, 10; Table XXXV, 1.

204 M.Rakhimov

Chorbargi bed - four tal leaves (a tree in Central Asia). A composition element

used to paint the bottoms of dishes, Table XXV, 2.

Chorbargi davra - quarterfoil in a circle. An element used to decorate the bottoms

of dishes Table XL,5.

Chorbargi kungura - four leaves in a circle of teeth. Used to decorate the bottoms

of dishes, Table XXVIII, 1; Table XXX, 7.

Chorbargi mavj - four leaves among waves. Used to decorate the bottoms of dishesTable XXIX, 8.

Chorbargi xarroj - four engraved leaves. Used to decorate the bottoms of dishes,

Table XXV, 22.

Chorbargi xolcha - border ornament quarterfoil with moles. Used for ornamentalbandss on the sides of items, Table XXXII, 12.

Chorbodom - four almonds. Used to decorate the bottoms of dishes, Table XXII,

12.

Chorbuta guli mehrob - pattern of four shoots in niches used to paint the bottoms

of dishes, Table XXXIV, 9.

Chorgo'sha - a jar with for handles for butter, sugar. Known as quarangular, the

pattern is used to paint the bottoms of dishes, 14; Table XXXIV, 4.

Chormag'iz - four kernels (nuts). Used to decorate the bottoms of dishes, Table

XVII, 13.

Choroynak - the plant used for producing the best potash (ishqor), 36, 61 .

Chortagi, chortagi qo'lqulcha - a vessel with a handle, 15,16.

Chorxat or xati chor - four lines. A border ornament, Table VII, 4.

Chorxonai terma - dots in squares. A border ornament, Table XIX, 15.

Chor chashm - four small eyes. An element used in many compositions, Table

XVI, 7.

Chorchup - four sticks, pins. Used to paint the bottoms of dishes, Table XXV, 11 .

Chor g'uzon - four cotton bolls, Table XXIII, 5.

Glossary 205

Chor g'unchagul - a flower with four buds. Used for ornamental bands on the

sides of items, Table XXXII, 5.

Chog'on -the kind of plant used by kulols in Khorezm to produce potash, 36, 61.

Chuvati ko'za - a vessel for sour milk, 15.

Chumchuqqanot - sparrow's wings. Used in various compositions, Table VII, 21;

Table XXXIII, 19.

Churchurak - children's clay toys, 16, 93.

Chuqur - deep; chuqur tovoq - deep dish, 13; Table II, 5.

Cho'l zanjira - steppe border, Table XXVII, 14.

Cho'l islimi - steppe islimi. Used for ornamental bands on the sides of dishes and

edges of bowls on the reverse side, Table XXXVIII, 8.

Cho'l chumchuq - steppe sparrow, 93.

Cho'yan obdasta - cast-iron vessel. Used to decorate the bottoms of dishes, Table

XVIII, 15.

Davra - circle. A border ornament. Frequently stamped on the item, 55, 129; Table

VIII, 10.

Davra zanjira - border of circles. Usto Giyasitdin (Shakhrisabz) oftenused this or¬

nament to decorate the edges of sides of dishes, Table XXVII, 10.

Davra zulma - circle made of clay balls. A border ornament, Table VIII, 9.

Davra madokhilcha - circle of madokhils. In Samarkand this pattern decorates the

center of dishes and is repeated up to 5 times. Attributed to Usto Abdugafur (sec¬

ond half of the 19th a), Table XXXV,8.

Davranaqsh - circle (in some areas this pattern is called chashma - a spring),

Table XXII, 10.

Davra nokhot - a pea in a circle. Mostly stamped, Table VIII, 5.

Davrai sitora - a star in a circle. Used in Samarkand to decorate the center of

dishes, covering the entire bottom. Attributed to Usto Gulyam, Table XXXIV.12.

206 M.Rakhimov

Davrai khurshid -the sun in a circle. In Rishtan this pattern is painted in the center

of dishes or on the bottoms of bowls, Table VII, 11.

Dazmol loy - clay that is used to smooth the surface of ceramic items, 45, 52.

Damgir togoracha - a bowl used to cover a copper pot while cooking plov, 16.

Dandana - teeth. A border ornament, Table VII, 25; Table IX, 1 ; Table XIX, 1 Table

VII, 11..

Darakht - a tree, 110.

Darakhti bodom - an almond tree. In Samarkand this pattern is painted in the

center of dishes, on the trunks of jugs, etc. Usto Umarkul Djumarakulov painted the

pattern with brown-red, yellow, green colors, Table XXXVI, 14.

Darakhti gul -tree pattern. A stylized border pattern used by Usto Vaisov (Khorezm),

Table XLVIII, 20.

Darakhti duchashma - a tree and two small springs. Used in Samarkand in many

compositions, it is attributed to Usto Gulyam, Table XXXVI, 13.

Darakhti jingalakgul - pattern of the dingalyak tree. Used in Samarkand as a

border pattern, it is painted with green paint, Table XXXII, 25.

Darakhti kharroji - carved tree (scratched). Used in Gijduvan as a border orna¬

ment, it is painted with green paint in a contour pattern, Table XX, 12.

Darakhti khurmo - a fig tree. Found in many compositions in the items produced

by Usto Sydyk Khodji (Rishtan), Table XIII, 13.

Darakhti chizma - a tree produced by the chizma technique. Used as a border

ornament in the items produced by usto Abdukarim in Shakhrisabz, Table XXVII, 4.

Digir g'oza - vessels for a chigir, a wheel for lifting water out of deep aryks (Khorezm),18.

Doira - tambourine. A popular pattern for the central area, Table X, 15.

Doiranaqsh - tambourine pattern. A popular pattern for the center of dishes, it has

many versions. It is found in the items produced by the masters in Gijduvan, and is

painted with light colors on a dark background. Attributed to Usto Abdurakhman

Glossary 207

(Samarkand), and often painted with dark blue, green and yellow colors, Table

XXII, 6, 10,15; Table XXXIV, 2.

Donkosa - a small bowl for birds' cages, 14.

Duboyak tovoq (duboyak shokosa) - a medium sized dish or a bowl (Samarkand),

13.

Du gajak - two curls. Part of a border element, Table Llll, 6.

Du gajakgul - a pattern of two curls. A border ornament found in the items of Usto

Umarkul Djurakulov (Samarkand), Table XXXII, 16.

Du gajagi morgula - two-sided curl. An element of many compositions, it is found

in the items produced by Usto Ashurmat (Rishtan), Table XIV, drawing

Du gajaki yakdona - two curls with a small grain. Used as a border pattern by Usto

U. Djurakulov (Samarkand), Table XXXII, 24.

Dudandana chertak - two-toothed leaf of chertak. A border ornament, Table XX, 9.

Du ilonizi - two snake tracks. The simplest ornament, also called kush ilon izi,

Table VII, 8.

Du kungura - two teeth, 1 04.

Du madakhil mehrobi - niche with two madokhils. Used as a separate element of

many compositions in Shakhrisabz, Table XXVIII, 4.

Dumi asp - horse tail. A border ornament, Table XXXVIII, 4.

Dumi baliq - fish tail. An element of many compositions, Table XVI, 9.

Dumi burgut - golden eagle tail. An element of many compositions that decorate

the bottoms of dishes, 97; Table XVI, 18; Table XXVI, 6.

Dumi kabutar - pigeon tail. Masters in Rishtan attribute it to the potter Boy-bobo

(Kokand), Table XVI, 12.

Dumi murg -bird tail. Used by Musa Ismailov in Rishtan, Table XVI, 15.

Dumi kh'oroz - rooster tail. An old pattern used by Ashurmat in Rishtan (19th a),

Table XVI, 16, 17.

208 M.Rakhimov

Dumi goz - goose tail, (sometimes called k'ochkarok or sadbarg). Found in the

work of Usto Abduaziz (Gijduvan), XXIV, 6.

Dumochagul - see tumorchagul.

Duoshyena - two-story kiln, 69.

Durafa (humdon) - two-story baking kiln, 68, 69.

Du sari madokhil - madokhil with two heads. A border ornament, produced in

Gijduvan with chizma and qalami techniques, Table XXI, 3.

Du sari morgula - snake's curl with two heads. A pattern for the center of dishes.

Attributed to Usto Abdukadyr-kalta (Gijduvan), Table XXVI, 12.

Dutagi k'oza - one-handled vessel, 15.

Dutarafa kungura - double-sided teeth. Used to decorate the sides of dishes and

the necks of figured jugs. Found in the items of Umarkul Djurakulov (Samarkand),

Table XXXIII, 1.

Dukhat - two lines. A border ornament, Table VII, 2.

Du chashmi barg - leaf with buds. Used by Usto Abdukarim Khazratkulov in

Shakhrisabz for decorating the bottoms and sides of dishes, Table XXVIII,

Du chashmi bodom - two buds of the almond tree. Used in Gijduvan for decorat¬

ing the bottoms of dishes and trunks of jugs and vases, Table XXIV,

Du egri xat-two curves. A border ornament, Table VII, 11.

Du qabati kungura - two rows of teeth. A border ornament, used on glazed and

unglazed crockery using the kharroj technique, Table XXXII, 3.

Du qalampiri islimi - islimi with red peppers. A new ornament for painting the

bottoms of dishes, Table LIV.1.

Dukki kosa - a medium sized bowl for cream and milk, 14, 83, 92, 99; Table III, 5.

D'ola zanjira - border of small hail. A border ornament, 112; Table XLI, 5.

D'olcha - tea bowl (Shakhrisabz), 14.

Du d'ogobi (or obi) kosa - deep small bowl for water, Table III, 1 .

Glossary 209

El - air bubbles, 44.

Elpugich - fan. Similar terms are used for quite different patterns for the sides and

bottoms of vessels. Common in Kattakurgan (Usto Salim) and in Rishtan, Table XII,

2; Table XLI, 3.

Egar zanjira - border of saddles. A border ornament, 77, Table IX, 20.

Egrinaqsh - pattern of curved branches. Used in many compositions for painting,

Table XLIX, 13.

Egri xat - curved line or tumor yul - the road of talismans, Table VII, 10, 11 ,

Engobe - white clay.

Fakham tovoq - a flat dish, 103.

Gajak - curl, jewelry; pronounced as kajjak in some areas, 112.

Gajakbarg - a leaf-curl, a tendril leaf. An element of many compositions, it is an old

pattern found in the items of Usto Ahurmat of Rishtan in the 18th c. Widespread in

Tashkent as well, and used by Usto Turap Miraliyev. The same name is used in

Gijduvan for another pattern made with green and red colors, Table XIV, 2; Table

XX, 21; Table XLIV, 5.

Gajak zanjira - border with curls. Made with green, brown and dark blue colors,

and attributed to the Tashkent master Masaid Khodjaishan, who lived in the second

half of the 19th c, Table XLII, 2.

Gajak islimi - islimi with curls. A new ceramic pattern adopted from ganch carving,

Table Lll, 11.

Gajagi mug - tendrils of the mug tree (from Arabia). Used for painting the bottoms

of dishes. Painted with yellow, green, black and white in the items of Akhad Muzaffarov

in Shakhrisabz, Table XXVIII, 14.

Gajak panjara - frame of curls. Used for painting the sides of vessels. Painted with

green and dark brown on a light yellow background in Kattagurgan, 107; Table

XXXII, 7; Table XXXVIII, 6.

Gajak tanga -jewelry made of coins. An element of complex compositions, attrib¬

uted to Usto Yusupjan-kulol (Khorezm, second half of the 19th c), Table XLIX, 14.

210 M.Rakhimov

Gajak chashm - curls with eyes. An element of complex composition, used for

decorating the bottoms of dishes and trunks of high vessels, Table XXXVI, 12.

Ganch - a type of gypsum.

Gandumgul - wheat pattern. An element of many compositions, used for decorat¬

ing the trunks of high vessels. Found in the work of Usto Muso Ismailov (Rishtan),

131, Table XIV, 11.

Gandum zanjira - border of wheat grains, Table XI, 5.

Gandumi quchqarok - wheat grains and sheep's horns. An element of complex

composition used by Usto Abdukarim Khazratkulov (Shakhrisabz), Table XXX, 9.

Garmdorigul (or qalampir) - red paprika, 113; Table LV,2.

Gilamgul - carpet pattern, 131.

Gilbuta (or gilvata) - fire-resistant clay, 31 , 54, 57, 58, 1 01 .

Gilvatalash - engobing, engobe, (astara in Tadjik), 51.

Gilosbarg -cherry-tree leaf, Table IX, 17.

Girdobi - whirlpool. Used for the bottoms of dishes. It is repeated at least one and

up to four times in the form of separate rosettes, depending on the size of the dish;

painted with different colours on a dark brown background in Gijduvan. Found in the

items of Usto Mukhammedjan in the early 20th c. (In Kattakurgan similar drawings

were produced by Usto Salimdjan), Table XXII, 8; Table XL, 11.

Girdbiparra - whirling propeller. Used for decorating the bottoms of dishes, Table

XXVII, 7.

Guvala - small hand-made shapeless bricks, 61.

Guliazkhar - azkhar flower (from Mecca). Attributed to Usto Abdusidyk Khodja

(Rishtan), it is produced with the chizma technique, Table XIII, 12.

Guli aquokhun - name of a flower. An element for painting the bottoms of dishes,

Table XIII, 6.

Guli angur (or guli khalila), Tadjik - vineyard pattern. Usto Sattar (Rishtan) used

itfor painting dishes(second half of the 19th c.),TableXIII,11.

Glossary 211

Guli anor - pomegranate. Used for decorating the center of dishes, it is attributed

to Usto Ashurmat (Rishtan, the first half of the 19th a), Table XIII, 20.

Guli ansur - ansur flower (wild mountain leek). An element of many compositions,

Table XV, 22.

Guli asalari - small bee pattern (also called guli sanjara, a flower). An element of

many compositions, made with green, dark blue and brown colors, Table XIII, 16.

Guli binafsha - violet pattern. A popular pattern throughout Uzbekistan, it has dif¬

ferent versions in Rishtan (in Usto Ashurmat's items, 19th c.) and in Gijduvan (in

Usto Abdukadyr-kalta's items, 19th a); Table X, 12; Table XIII, 18; Table XXIV, 3. 1

Guli bekhi - quince pattern. An element of many compositions, Table X, 5.

Guli bodomi ninachi - an almond flower with butterflies, Table XV,1.

Guidon - vases of different sizes and forms with and without handles, 16, 80, 83.

Guli gajak - curl pattern. A border ornament, Table XIII, 7.

Guli gandam - flower of wheat. Used for decorating the bottoms of dishes. Painted

using the combined method: chizma and painting. Found in the work of Umarkul

Djurakulov, Table XXXVI, 15.

Guli dur'oya - two-sided flower. An element of many compositions in the work of

Usto Turap Miraliev (Tashkent), Table XLV, 3.

Guli jabal - jabal flower (from Arabia). Usto Sharafitdin khodja (Gijduvan, 19th c.)

painted it with green, dark blue and brown colors, Table XXIV, 4.

Guli zarvaraq - golden flower. An element of many compositions, Table XV, 18.

Guli zardolu -apricot tree flower. A border ornament, Table XXI, 14.

Gulidish - flower pot (see, gultuvak), 16.

Guli koshini - tiles (also called "parpashsha"), which come in many different ver¬

sions, Table X, 13; Table XXII, 17.

Guli madokhil - madokhil pattern. A popular pattern found throughout Uzbekistan,

Table X, 10.

Guli mehrobi - niche pattern (also called guli mehrobi pista bodom - niche with

212 M.Rakhimov

pistachio and almond). Found in the work of Usto Kurban (Gijduvan, the

early 20th c), Table XXV, 19.

Guli mochin - Chinese. A component of the classic composition islimi ta'rillik found

in the work of Usto M. Miraliev (Tashkent), Table XLVI, 4.

Guli mokh - moon flower, (also called olmagul). Usto Gulyam (Samarkand) colors

it with green, dark bue and red-brown colors, Table XXXV, 11.

Guli mujgon - name of a plant (from India). An element of many compositions in

the items produced by Usto Mazoir (Rishtan), Table XIII, 10.

Guli mugilon - name of a plant (from Arabia). A popular pattern found throughout

Uzbekistan, although the name varies, Table VII, 30.

Guli nok - a pear. Used for painting the bottoms of dishes. Used by Usto Bobo

Niyazmat (Rishtan, the second half of the 19th a), who used a combined tech¬

nique, Table XV, 5.

Guli norinj - pattern of a flower or citrus plant. An element for painting the centers

of dishes, Table XV, 8.

Guli odmi - modest pattern (also called soldier). Usto Abdullo (Rishtan, second

half of the 19th c.) used this pattern for painting semi-faience chinni crockery, Table

XV, 19.

Guli olubolu - cherry pattern (also called pistagul -pistachio pattern). A popular

pattern, found in the items produced by Usto Boy-bobo in Rishtan (19th c), Table X,

11.

Guli ra'no - name of a flower. From the items of Usto Turab Miraliev, Table XLV, 6.

Guli rumi - Roman pattern (also called darakhti noyeb in Rishtan). A painting ele¬

ment used by Usto Boy-bobo (19th a), Table XIII, 15.

Guli savsan (or sapsar) - iris. An element of many compositions for painting the

bottoms of dishes. Turap Miraliev uses not only dark blue but also yellow paint,

Table XXXIV, 12; Table XLV, 2.

Guli sanjari - name of a plant (from Merv). Used for decorating the bottoms of

dishes in Gijduvan. Usto Kurban colours this element with dark blue, green and

brown colors on a white background, Table XXIV, 5.

Glossary 213

Guli sarmogon - name of a plant (from Arabia). Used for painting the bottoms of

dishes: one drawing covers the entire bottom. Usto Gulom (Samarkand) made the

pattern with dark blue, green and red-brown colors, Table XXXIV, 8.

Guli safid -white flower.An element of many compositions,Table XXXII, 13.

Guli talkha - name of a plant (from India), Table XIII, 3.

Guli tanob - elongated pattern. Attributed to Usto Abdulaziz in Gijduvan (early 1 9th

a), Table XXIII, 2.

Guli tarbuz - watermelon pattern, Table XV,4.

Guli tovus - peacock pattern. Used in many compositions. Usto Khodja Sharifdjan

colors this pattern with white, green and dark blue on the brown background, 97;

Table XXVI,8.

Guli tojikhuros / gultojikhuros - rooster comb. An element of many composi¬

tions, 91; Table XXXIV, 6.

Guli tupsar - name of a plant. Used as a component of many compositions. Usto

Maykub (Rishtan, early 20th c.) colours this pattern with dark blue, green and brown

under transparent glaze, Table XIII, 19.

Guli khairi - mallow. An old pattern, it was used by Usto Abdullah (Rishtan, 1 9th c.)

to decorate the center of dishes. The same name was used for another pattern in

Tashkent which was used as a component of many compositions. Attributed to

Mirsaidkhodja ishan (19th a), Table XV, 20; Table XLV, 10.

Guli khurshid - the sun (also called palak gul). Used for decorating the bottoms of

dishes; three or up to six elements are painted on the bottoms of dishes, depending

on their size. In Gijduvan yellow, brown and green colours are used for this pattern,

Table XXIII, 14.

Guli chertak - name of a plant or elongated pattern. In Gijduvan this pattern alone

covers the entire bottom of dishes. Usto mulla Kurban (early 20th c.) painted this

pattern with dark blue, brown and red colours under a lead glaze, Table XXIII, 3.

Guli chongora - name of a plant (from the town Chongora). Found in the items

produced by Usto Musa Ismailov (Rishtan), Table XV.14.

Guli sham - candle pattern. The same name is used for patterns of quite a different

214 M.Rakhimov

style in Gijduvan. Used for decorating the bottoms of dishes; Table XXIV, 11 ; Table

XXV, 1.

Guli usma - usma (a plant), Table XV, 21 .

Guli guzanak - agrimony pattern. A border ornament. Found in the items produced

by Umarkul Djurakulov (Samarkand), Table XXXIII, 6.

Gultuvak - flower pots of different sizes, 16.

Guppi - see kuv (oil-press), 18, 92, 116.

G'ok darakht - poplar. Used for decorating the bottoms of vessels, it may be re¬

peated up to six times. Produced by Balta Vaisov (Khorezm), Table XLIX, 4.

G'alvirak, g'alvirak hoshiya - sieve. Used to decorate the bottoms of dishes and

sides of vessels in different ways. Seen in the items produced by Usto Mirsaidov

(Tashkent, 19th c.) and Usto Urazmet Otaniyazov (Khorezm), Table IX, 12; Table

XLIII, 2; XLVIII, 11.

G'ildirak zanjira - wheel border. Used for decorating the sides of dishes. Found in

the items produced by Usto Ayub (Kanibadam) and Usto Ibragim-bobo (19th a),

Table XI, 18; XXXVII, 7.

G'isht zanjira - border of small bricks, Table XIX, 22.

G'isht rang - red-brown paint, 56.

G'ujmak - support in the form of a clay cone, 41, 70; Table I, 14-15.

G'uzor - name of a plant, 83.

G'undak - a tool used to thin the walls of khums and large earthenware pots, 40;

Table I, 16.

G'unt - prepared clay balls, 37, 44.

G'unchagul - a flower bud. This element is used in many compositions to paint the

bottoms of vessels, Table XV, 17.

G'o'zagul, g'o'za - cotton pattern. A border ornament, 91 , 127; Table XV, 23; Table

XLIX, 9.

Glossary 215

G'o'zanak, g'o'zanagi terma - agrimony heads. Used to decorate the sides and

trunks of items, in the form of a 12-pointed star, 83, 94; Table VIII, 19-21; Table XIX,24.

G'o'zanakgul - agrimony pattern, 129.

G'uzg'uzak - name of a plant. Used to decorate the bottoms of dishes, Table XXIII,

6.

Havzagi zanjira - border with hollows. Used to decorate the sides of dishes, Table

IX, 19.

Hazorisfand - a plant similar to incense. A border ornament, attributed to Usto

Mirza Palvan (Shakhrisabz, 19th a), Table XXVII, 2.

Halqa zanjira - border of rings (chain of rings). Used to decorate the sides of ob¬

jects; it has several different versions, Table IX, 18; Table XIX. 2, Table XXXIII, 3.

Hapalak (or xandalak) - a kind of melon. Usto Uzak Shermatov called this pattern

zanjirai vov - a border of the Arab letter vov. Used to decorate the sides of dishes

and bowls, Table XI, 13.

Hashti barg - eight leaves. This pattern is used to decorate the bottoms of dishes.

This pattern is called charkhpalak, Table XXII, 1.

Hashti madoxil or hashti madoxili Sitora - a star of eight madokhils, Table XXIII,

8; Table XXXV, 9.

Hashti nova -eight fillets (or cornices).A border ornament.Table XXXVII, 9.

Hashti raxgul - pattern with octahedron. Used to paint the bottoms of dishes, Table

XXXV, 12.

Hashti shamdon - lamp with eight candles. Used to paint the bottoms of dishes;

attributed to Usto Abdugafur chinnisoz(Samarkand), Table XXIV, 1.

Hashti havzagi - eight small domes (octangular hollows). Used for painting the

bottoms of dishes, Table XVII, 12.

Hovuz - a pond. Used to decorate the bottoms of dishes, Table XXIX, 7.

Hoshiya - framework, edging, 77.

216 M.Rakhimov

Hoshiyagul - pattern of framework. Used to decorate the sides of items. Seen in

the items produced byUsto Bolta Veisov (Khorezm),Table XLVIII,9.

Hoshiya nayzagul - a framework with a spear pattern. Used to decorate the sides

of dishes/Table XLVIII, 10.

Hushtak, Hushpalak - children's clay toys, 16, 18, 26, 35.

Hum, humikulen - large earthenware pot, 13, 16, 23.

Humbuznaqsh - a drawing of a kiln. A pattern for decorating the sides and edges

of dishes (Khorezm), Table XLVIII, 12.

Humdon - baking kiln, 41.

Humi kautagi - a large earthenware pot covered with green glaze, 18.

Humi obi - khum with water, Table XV, 24.

Humdonchai rezgi - small kiln for baking small ceramic items, 66.

Humdon teruvchi - a master who puts items in the kiln, 69, 70.

Humi tovonchagi-a large earthenware pot made with the tool tovoncha;

18.

Humcha, miyena hum, kichkina hum - unglazed crockery for water or for storing

grain, 16, 92.

Ibriq - small clay jug (Khorezm), 16.

Ikkitalik- two-dimensional, 16.

Ikki tortar - made in two movements. Done by engraving, Table XLI, 2.

Ilmoq - hook. A border ornament. Some masters also call this pattern bir tortar.

Attributed to Usto Masharifov (Khorezm), Table VII, 15; Table XLVIII,

Ilmoq zanjira - border of hooks, 76, 77; Table XI, 15.

Ilon boshi - snake head. Used as a component of many compositions. Found in

the items produced by Usto Madjanov (Khorezm), Table XLIX, 10, 20.

Ilon izi - (pilong in some areas) - snake track. A border ornament with different

Glossary 217

versions, 76, 101, 104; Table VII, 9; Table XLVIII, 4.

Ilon ilon - snake tracks. Used for decorating the bottoms of dishes. Found in some

items produced by Usto Madjanov, Table XLIX, 20.

Ilon taroq, ilon taroqgul - snake and comb, Table L, 5.

Ingichka mola - thin wooden knife used for forming crockery, 39, 40; Table 1,1,2.

Isirga tumorcha - talisman filled with the fragrant herb isirig. A border ornament,

Table XXXII, 8.

Islimi - pattern of sprouts, 104, 107, 114, 127, 132.

Islimi angur - grape islimi, Table XXI, 18.

Islimi ansur (islimi ansura) - mountainous wild leek. Found in the items produced

by Usto Kholmat (Rishtan), Table XV, 7.

Islimi bayzai anqo - islimi of eggs of the fabled anqo bird. A border ornament, it is

found in the items produced by masters in Rishtan, 90; Table XII, 21.

Islimi barg - border ornament, Table XXVII, 18.

Islimi bargi pakhta - sprout of cotton leaves, Table Lll, 15.

Islimi bulut - islimi of clouds. A border ornament, it is found in the items produced

by Usto K. Turapov, Table Lll, 17.

Islimi gajak - islimi of curls. Used for painting the bottoms of dishes and trunks of

vases and jugs, Table XXXVI, 11 .

Islimi du gajak - sprout with two curls. Used for decorating the bottoms of dishes,

Table XXXIX, 11.

Islimi yengozi-sprout with a drawing of the yengozi plant.Table XLVIII, 21 .

Islimi zambil - islimi of stretcher. In Rishtan this pattern is called oltin k'ongiz, Table

XVI, 20.

Islimi zuluk - islimi of leeches. Used as an element of many compositions, more

often for decorating the bottoms of dishes, Table XVI, 6.

Islimi koshin - tile islimi, 97.

218 M.Rakhimov

Islimi mashadi - Meshhed pattern. Painted on the bottoms of dishes produced by

Usto Djumaniyaz Yakubov (Khorezm), Table XLIX, 21 ; Table L, 8, 9.

Islimi mora - islimi with small snake. Used as an element of many compositions,

Table XXXV, 17.

Islimi nova - islimi on ceiling details. A border pattern, Table XLII, 3.

Islimi oftob - sun islimi. Used for painting the bottoms of dishes, Table XLII,

Islimi pakhta - islimi of cotton. A border ornament found mainly in new items, Table

Ll,1.

Islimi pechakgul - islimi of bindweed. A border ornament. Found in the items pro¬

duced by Usto Mirsali (Rishtan) in the 19th c, Table XII, 20; Table XXVII, 19.

Islimi taroq - islimi of combs. A border ornament, Table XII, drawing 10.

Islimi chanqaroz- islimi with chankaroz. Recorded in Kattakurgan in paintings on

the bottoms of dishes and bowls, Table XXXIX, 8.

Islimi shobarg - islimi of leaves. Used for decorating the wide parts of the trunks of

vases and jugs, Table III, 10.

Islimi yaktarafa - one-sided islimi. A border ornament, Table XXXII, 18.

Islimi qalampir - islimi of red peppers. Used for decorating the bottoms of dishes

in the items produced by Usto Boboniyazmat (Rishtan).Table XV, 3.

Islimi g'ora - islimi consisting of a pattern of green grapes. A border ornament,

Table XXI, 19.

Islimi khoshya - islimi edging; Table XII, 3; Table XXXII, 19.

Ishkomi khoshiya - "vine" edging. A border ornament, Table XII, 5.

Ishqor - potash made of the cinders of burnt plants, 36, 60, 61 .

Ishqor sir - earth-alkali glaze, 45.

Ishqorkhona -a special place in the chamber of a kiln for firing potash,61 , 68.

Jibilajibon - frequent snake tracks. A polychrome border ornament for engraving,

Table XVII, 19,20.

Glossary 219

Jiydagul - djida, blossom of djida. This term refers to a variety of quite different

patterns made by chisel and brush, 95; Table XIX, 7; Table XXIVI, 2; Table XXXII,

23.

Jingala - curl, name of a tree. An element of many compositions, it is recorded in

the items of Usto Abdullo in Rishtan, Table X, 1.

Jingalak zanjira - curl border. Quite different patterns are referred to by the same

name, Table IX, 5, 6; Table XI, 12.

Jiga naqsh - jewelry, hair-pin, pin. An element of many compositions, it is found in

the items produced by Usto Khasan-bobo in Kattakurgan and in Tashkent, Table

XL, 12.

Jomashov (kirtogora) - large clay basin for washing clothes, 16.

Jun (see, yung) - wool, 31 .

J'osha, j'osha rang, jusha - red ferriferous clay, dye,31 ,35,43, 51, 57, 81.

Kavak-kavak - small holes, pores, 42.

Kajagi mug - curl of the mug tree, Table XXVIII, 14.

Kallakcha - small bowl for milk products, 14.

Kamar - belt. A border ornament, Table VII, 18.

Kamtutun alanga, kam tutunlik alanga - neutral flame (flame with little smoke),

71.

Kapalak zanjira - border of butterflies, Table XII, 15.

Kariz zanjira kariz - border of kyariz (water pipe). Used for decorating the sides of

dishes and bowls, 107; Table VII, 36; Table XXVII, 11.

Karnay - musical instrument (in Khorezm "kannay") - 18.

Karnaygul - pattern of stylized karnays (musical instruments). An element of many

compositions, Table XV, 12; Table XXXVI, 6; Table XLV, 1.

Katta shokosa - large bowl, 14; Table I, 3.

Katte lagan - large sized dish, 13, 108.

220 M.Rakhimov

Katta mola - large wooden triangular knife, 40; Table I, 3.

Katta olov - strong fire, 59.

Kashak zanjira - border of hooks, Table XXXII, 6.

Kesma koshin loy - substance for making carved mosaic plates, 43.

Khalfa - a master's paid apprentice, 20.

Khamir togora - large clay basin for dough, 16, 69.

Kharchagi tovoq - small sized dish (Shakhrisabz), 13.

Kharroj or kharrosh - carving, 53, 54, 92, 118.

Kharroji bargi bed - scratched leaf of tal, Table XX, 14.

Kharroji butta - scratched or carved small bushes. A border ornament, Table XX,

3,4.

Kharroji vardanzi - scratched vardanzi pattern. A border ornament, Table XX, 1 .

Kharroj guli barg - scratched flower petal. Used for ornamental bands on the

sides of items, Table XXXII, 14.

Kharroj guli turna - scratched crane pattern. Used for ornamental bands on the

sides of items, Table XXXIII, 20.

Kharroji sarbasar - scratched double-headed pattern. A border ornament, Table

XX, 13.

Kharroji chorhona - scratched quadrangle. A border ornament, Table XX, 2.

Kharrosh qalam - thin metal rod with pointed tip, 83.

Kharsang tosh - millstone. A border ornament, this pattern is used for the sides of

dishes, 62, Table VII, 17.

Khat - straight line, letter, fascia, 54, 59, 76, 88, 104; Table VII, 1.

Khatlik zanjira - line border, 76.

Khat qalam - brushes for outlining with paint, 40.

Khatti alif - outline of the letter alif.

Glossary 221

Khatti guli rayhon - fascia of fragrant flowers of the basil plant; Table XXI, 16.

Khatti jingalak - line of curls, Table VII, 27; Table XXI, 17 .

Khatti islimi - curved line. A border ornament, Table XVII, 16.

Khatti kesma - broken line. A border ornament, Table VII, 5.

Khatti mehrobi - line mihrab. A border ornament, 88; Table XI, 1 .

Khatti nakh'odi zulma - line segments with peas. A border ornament, Table VII, 6.

Khatti rayhon - basil fascia. An ornament on the sides of dishes, Table XXVII, 11.

Khitoibarg - Chinese leaf. Used in many compositions of painted items, Table

XLIV, 13.

Khitoicha - Chinese, 114.

Khitoicha barg - Chinese leaf. Used in the ornamental composition islimi-khitoicha;

Table XLVI, 3.

Khoki yakh - frozen clay, 42.

Khonagi - room, cellular, quadrangular, 88.

Khonagi dugajak - quadrangles with two curls. A pattern for ornamental bands on

the sides of items, Table XXXII, 10.

Khonagi zanjira - border of small rooms. Used for ornamental bands on the sides

of dishes and on the edges of bowls on the reverse side, Table XXXVIII,

Khompaz - baking unglazed items, 84.

Khurma, t'orttalik khurma, unoltitalik, unikkitalik khurma, katta khurma - a vessel

with two handles for milking a cow, 15.

Khurmai kalon - large sized milking vessel, 15.

Khurma kautagi, khurma dutagi - a milking vessel covered with green glaze, 15.

Khurmacha, qatiq khurmacha - a small two-handled vessel used for sour milk,

15, 70; Table V, 2.

Khushruigul - wonderful pattern. A border ornament, Table XLVIII, 13.

222 M.Rakhimov

Kh'oroz obdasta - a rooster-shaped pitcher, 47, 129.

Khutangul - khotan flower. An element used in many compositions on painted

items, Table XLIV, 17.

Kirtogora - basin for washing clothes, wash-tub, 16, 70.

Kirchop - name of the burnt plant which provides cinders for firing potash, 61 .

Kichik lagan, lagancha - small dish (Tashkent), 13, 108.

Kichkina mola - small knife, 40; Table I, 4.

Kojkord - knife for finishing the reverse side of the bottoms of crockery; pattern of

knife called birtortar in Rishtan, 37, 40, 47; Table I, 19; Table VII, 16.

Kishlak - a village

Koptok zanjira - border of balls, Table XI, 3.

Kord arra - serrated knife. Used for decorating the bottoms of dishes (Rishtan),

Table XVIII, 12.

Kordi baliq - a fish-knife. Used for decorating the bottoms of dishes (Rishtan),

Table XVIII, 3.

Kordi isfihon - Isfakhan table knife, (Rishtan), Table XVIII, 9.

Kordi kalon - large knife. Used for decorating the bottoms of dishes (Rishtan),

Table XVIII, 1.

Kordi muza - shoe knife. Used for decorating the bottoms of dishes (Rishtan),

Table XVIII, 2.

Kordi naiza - sharpened knife-tip. Used for decorating the bottoms of dishes

(Rishtan), Table XVIII, 10.

Kordi novda - a knife for cutting twigs. Used for decorating the bottoms of dishes

(Rishtan), Table XVIII, 13.

Kordi oy - crescent knife. Used for decorating the sides of large dishes and bowls

in Shakhrisabz, Table XXVII, 8.

Kordi osh - kitchen knife. Used in different areas for decorating the bottoms of

Glossary 223

dishes, Table XVIII, 11; Table XXVII, 8.

Kordi tok - a knife for cutting vines (Rishtan). Used for decorating the bottoms of

dishes, 105, 108; Table XVIII, 6.

Kordi khanjar - a dagger. Used for decorating the sides of dishes (Rishtan), Table

XVIII, 8.

Kosa - a bowl for liquid foods, 14, 27, 66, 69, 70, 73, 92; Table III, 1-10.

Kosa duobi - medium-sized bowl (Samarkand), 14.

Kosa obikhuri - a cup for drinking water (Samarkand), 14, 69.

Kosacha, donkosa - a small cup, 14.

Kosagar, kosagarlik - a potter who makes flat items; flat ceramic items, 13, 17,

23, 27, 73, 83.

Kosagar loy - the mass for forming flat items, 43.

Kosagar humdon - a kiln for baking flat items, 36, 66, 67, 68, 69.

Kosagul - a bowl. This large pattern is used for decorating the bottoms of various

vessels in Gijduvan, Table XXII, 18, 19.

Koshin - a tile; quasi-porcelain clay object, 112.

Koshin bodiya - a dish with vertical sides on a high base (Khorezm), 13, 116

Koshingul - a tile. This pattern has many versions. Used for decorating the bot¬

toms and sides of vessels in various compositions, Table XXXV, 7; Table XXXVIII,

1; Table Llll, 4.

Koshini - tiled, 105, 107; Table XXIII, 15.

Koshin loy - clay substance mixed with quartz sand for producing tiles, 43.

Koshinpaz - a master who makes small architectural ceramic tiles.

Kuv - a butter churn, 92.

Kuvacha - a jug with one handle that is completely glazed on the inside and out¬

side, used for water, 15.

224 M.Rakhimov

Kulol - a potter, kulollik - a potter's work; the name of district where potters live, 31 .

Kulol tuproq - pottery clay, 31 , 32, 34.

Kulcha zanjira - border of small non (Uzbek bread). It has several versions, Table

XI, 4; Table XXXVII, 10.

Kulcha parragul - whirligig in the form of non (Uzbek bread). Used for painting the

bottoms of dishes in the items produced by Usto Gulyam (Samarkand), Table XXXV,

10.

Kungura -toothing, toothed, zigzag, 104.

Kunguragul - zigzag pattern. The simplest pattern that is used for decorating the

edges of sides of glazed and unglazed vessels, it is seen in items produced by Usto

Umarkul Djurakulov (Samarkand), Table XXXII, 2.

K'oz zanjira - border with small eyes. Used for decorating wide bands on the sides

of vessels. Found in the work of Usto Masaidkhodja Ishan (Tashkent, 19th a), Table

XLI, 4.

K'oz naqsh -"eye" pattern. Used for painting the sides of vessels. Attributed to

Usto Yusupdjan (Khorezm, 19th a), Table XLI, 24.

K'oza (called g'oza in some areas) - a vessel for carrying and storing water, 13, 74,

92.

K'ozgar loy - clay mass for forming vertical forms of items, 43, 123.

K'ozagar humdon - a kiln for baking hollow vessels (khums, kuza, pitchers, etc.),

66, 67.

K'ozagar - a master producing high hollow vessels.

K'ozagarlik - high ceramic vessels in the form of jugs and pitchers; k'ozagars'

district, 13, 23, 27, 69, 77, 83, 101, 113.

K'ozagi savry - polychrome unglazed crockery, 71 , 92.

K'ozagi qatiq - a vessel for sour milk, 15.

K'ozagul - a pattern of jugs. Used for painting the bottoms of vessels. Some mas¬

ters call this pattern islimi tanob. Belived to have been created by Usto Veisov

Glossary 225

(Khiva), Table XLIX, 17.

K'ozai bevazani - a vessel for water with one handle, 15.

K'ozacha - small sized pitcher for water, 70, 83, 92, 111.

K'ozcha - a small eye. One of the newest patterns that masters in Tashkent use for

painting the sides of dishes, Table Lll, 4.

K'okanak - wide-necked bowl for storing butter, 16; Table V, 3.

K'ok nory - opium poppy. An element of many ornamental compositions. There

are several versions, Table XXX, 2; Table XLVII, 2.

K'ok rang - green and dark blue color, 57.

K'ok sir - green glaze, 64.

K'ok yashil rang - green color, 56, 57.

K'omma - two-layered (the name is given due to the technical characteristic of

painting made in two layers). Used for painting the bottoms of vessels. Used by

Usto Abdunazar in Shakhrisabz in the 19th c, Table XXX, 10.

K'or, k'orshapalak - a bat. Used by Usto Abdukarim Khazratkulov for decorating

ornamental bands on the sides of vessels, Table XXVII, 26.

K'oshki gul - a steppe flower. Used for decorating the bottoms of dishes and bowls.

Some masters call this pattern ilon bashi - the head of a snake. Used by the mas¬

ters in Khorezm, Table L, 12.

K'okhiqof - kof (fairy) mountains. The term nimkhalka is sometimes used to name

this border ornament, which is used for decorating the sides of dishes, Table XI, 7.

Labagi, labagi kosa - a bowl, 83.

Labgir - soft leather or cloth for smoothing the edges of vessels, 47, Table I, 5.

Labgardon - small sized dish (Samarkand), 13; Table III, 3.

Lablaba, lablaba tovoqi - small sized dish (Gijduvan, Samarkand), 92; Table III, 3.

Lagan, lagancha - a dish, 66, 73.

226 M.Rakhimov

Lagan loy - clay (soft) prepared to form dishes, 43, 44.

Lagan qolip - clay baked disk, a support for forming dishes, 41.

Langaritovoq - large dish (Shakhrisabz), 13, 102.

Lashkargul - pattern of soldiers for decorating the bottoms of dishes. Used by

Usto Abdullo in Rishtan, Table XV, 19.

La'ligul - a tray. Used for decorating the bottoms of dishes, Table XLIII, 4.

La'li tovoq - large dish (Samarkand, Kattakurgan), 13, Table II, 4.

Lojuvard, lojuvary - dark blue ¡tem, ultramarine paint, 36, 57, 58, 83, 89, 90, 101.

Loyi guidon - a mass consisting of plastic pottery clay mixed with jusha (red fer¬

rous) clay, 43.

Loykash - a device for battering, 44.

Loyhona - a place where clay is prepared, 43, 50.

Lolagul, loia - tulip, 89, 1 31 ; Table XV, 1 5.

Lola madokhil - madokhil with tulip. One of the new patterns used by masters in

Tashkent for decorating the bottoms of dishes, Table LIV, 4.

Loya - engobe containing fire-resistant gilbuta clay mixed with a large amount of

quartzite, 34, 35, 52, 58, 62, 101.

Madokhil - A widely spread figure in all types of ornamental arts in Uzbekistan,

107,112, 114.

Madokhilgul - madokhil pattern. Used for decorating the bottoms of dishes and

trunks of bowls, Table LIV, 14.

Madokhili - with madokhil, 97, 105.

Madokhili bodom - almond madokhil. Used for decorating the bottoms of dishes,

Table XXV, 23.

Madokhili vardanzi - vardanzin madokhil. A border ornament, Table XXI, 2.

Madokhili daroz - elongated madokhil. A component of many compositions, Table

Glossary 227

LIV, 16.

Madokhili islimi - seriated madokhil. A border ornament, Table XIX, 13, 14.

Madokhili loia - tulip madokhil. A pattern used for painting the centers of dishes,

created by Usto Usman Umarov, Table XXIV, 16.

Madokhili mehrob - madokhil in niches. A component of many compositions, Table

XXV, 6.

Madokhili rayhon - madokhil with rayhon (basil). A border ornament, Table XXI, 4.

Madokhili sar - head of madokhil. A border ornament, Table XLI, 12.

Madokhili sodda - simple madokhil. An element of many compositions, Table X, 7.

Madokhili taroq - pectinated madokhil. This is a pattern used by Usto Usman

Umarov (Gijduvan) for decorating the bottoms of dishes, Table XXIV, 14.

Madokhili terma - collected madokhils. Used by masters in Gijduvan for decorat¬

ing the bottoms of dishes, Table XXIII, 7.

Madokhili tug - madokhil in the form of a flag. A pattern for decorating the bottoms

of dishes, attributed to Usto Abdulaziz (Gijduvan, 19th c), Table XXIV, 15.

Madokhili kharroj - scratched madokhil. Used for decorating the bottoms of dishes

by Usto Ibodullo Nazrullaev and others, Table XXIV, 13; Table XXV, 16, 17.

Madokhili shakhnoz - a flower in the form of madokhil. Used for decorating the

bottoms of dishes, Table LIV, 13.

Madokhilcha - small madokhil. A border ornament, Table IX, 9; Table XLI, 11.

Maida darz - small crack in the glaze, 59.

Maida kuza - small vessel for water, 15.

Makkaj'ohori - maize. Used for painting the bottoms of dishes. Depending on the

size of the dish, the pattern is repeated 3-6 times on the bottom. Attributed to Usto

Masaidkhodja ishan (19th a), Table XLIII, 9.

Malgash - mountain rock containing ferrous oxide and chromium oxide, 35, 56, 57,

63,81, 122.

228 M.Rakhimov

Mashadi bodiya, mashadi kosa - small and medium sized bowls for liquid food¬

stuffs, 14,69,92.

Mashrafa - vessel, vase with or without two handles, 16.

Ma'raka lagan, ma'raka tovoq - small sized dish for commemoration, 13.

Magil - manganese stone, 35, 51, 54, 57, 63, 89.

Mehrob zanjira - border of niches, Table XXVII, 12.

Mehrobgul - pattern of mihrab (lancet arch, niche). A popular pattern. Versions of

it are used in various compositions for painting the sides and bottoms of dishes,

Table XXV, 2; L, 7'..

Mehrobi - vaulted, 91,97, 105, 107, 112; a border ornament, Table XLIII, 12; Table

XLIX, 15.

Mehrobi buiragi - cellular niches (or netting). A border ornament, Table XXI, 23.

Mehrobi morak - snake tracks in niches. A border ornament attributed to Usto

Yuldash-nakkosh (Shakhrisabz, early 20th a), 101; Table XXVII, 21.

Mehrob (mihrab) - a niche in mosques indicating the direction to Kibla for prayer

Mehrobi morgula - niches with curls. Seen in items produced by Usman Umarov,

Table XXV, 3.

Mehrobi mushki anbar - mihrab with musk. A border ornament, Table XXVII, 20.

Mehrobi oba - lancet arch. A border ornament, Table XII, 6.

Mehrobi ponis (tonus) - mihrab with lamp. Used to create compositions for deco¬

rating the central area of dishes, Table XXV, 7.

Mehrobi sambitgul - mihrab with pussy-willow. Used to create compositions for

decorating the central area of dishes, Table XXV, 13.

Mehrobi setora - three rows of niches. A border ornament borrowed from draw¬

ings of carvers, Table Lll, 16.

Mehrobi kharroj - scratched mihrab. A term used to describe various composi¬

tions, Table XXI, 24; Table XXV, 4, 8.

Glossary 229

Mehrobi chetan - niche with grille. A border ornament, Table XXXVII, 6.

Mehrobi qalam - painted niche. A border ornament, 89; Table XII, 17.

Mehrobi qushqanot - niches with birds' wings. A border ornament, Table XXVII,22.

Mehrobcha - small niches. A border ornament, Table XXXVII, 5.

Miyena - medium sized, 13, 14, 16, 69, 83, 92; Table II, 6, 7.

Miltiq - a gun. Used for decorating the bottoms of dishes, Table XLIV, 11.

Miltiq pichok - gun and knife. Used for decorating the bottoms of dishes. Seen in

items produced by masters in Khorezm, Table XLIX, 12.

Mingoyeq - a thousand legs. A pattern used for painting the bottoms of vessels,

97; Table XXVI, 4.

Mis -copper, 122.

Mis tupon - copper oxide, 45, 56, 58, 64.

Moy k'oza - a vessel for oil, 15.

Mola - wooden knife used for shaping ceramic items on the wheel, 40, 47; Table I,

1-4..

Mola zanjira - border of potter's knives. A border ornament, Table XXXVII, 9

Mokigul - shuttle pattern. This pattern has many versions for various composi¬

tions, Table XXIII, 10; Table XLIII, 3.

Moragi - snake track, snake path, 97; Table XXI, 5; Table XXXI, 2.

Moragi duqator - snake path in two lines. A border ornament, 97; Table XIX, 10.

Moragi zanjira - snake border, 101.

Moragi mehrob - niche with small snake. An element of many compositions used

for painting the bottoms of dishes, Table XXV, 5.

Moragi nakh'od - snake track with peas. A border ornament, 97; Table XIX, 23.

Moragi g'ozanak - zigzag (snake track) with agrimony. A border ornament, 97;

230 M.Rakhimov

Table XXI, 6.

Morak - small snake. Used for decorating the bottoms of dishes. Seen in items

produced by Usto A. Khazratkulov (Shakhrisabz), 104; Table XXVIII, 12.

Mori ciyekh - black snakes. Used for decorating the bottoms of dishes, Table XXVII,

15.

Morpech - snake track, 54.

Morsang - snake stone, talisman. Used for decorating the bottoms of vessels,

Table XXII, 3; Table XLI, 13.

Mor ut - snake's fang . Used for decorating the bottoms of dishes, Table XXVIII, 1 1 .

Morgula, morgulagul - curl, small berry. An element of many ornamental compo¬

sitions used for decorating the bottoms of dishes, 95; Table LIV, 9.

Morgula parragul - pattern of morgul and whirlpool. A border ornament, Table XX,

18.

Morgulai sarbasar - morgula placed head to head. A border ornament, Table XX,

17.

Morgulai yaksar - one head curl. A border ornament, Table XX, 19.

Munchoqgul - pattern of beads. A border ornament for glazed and unglazed items,

Table X, 14.

Murakkab - complicated, 76.

Murgok - a small opening in the wall of the kiln to observe the process of firing, 66,

70.

Murgi safid - white bird. Used for decorating the bottoms of dishes, 97; Table

XXVI, 7.

M'ori - chimney, 68.

Naiza zulfak - jewelry with pointed tip. Used for decorating the bottoms of dishes,

Table XXVI, 4.

Naiza madokhil - madokhil with pointed tip. Used in ornamental compositions for

Glossary 231

painting the bottoms of vessels, Table LIN, 2.

Namoshomgul - night beauty (flower). An element of many compositions used for

decorating the bottoms of dishes, Table XLVII, 4.

Narvon - a ladder. A border pattern recorded in Gijduvan, Table XIX, 3.

Nakkosh - a master decorator.

Naqshi baliq - fish pattern. Used for decorating the bottoms of dishes, Table XXXIV,

10.

Naqshi bekhi k'oza - drawing of plant roots. Used for painting the bottoms of

vessels, Table XXV, 10.

Naqshi b'ostoni - pattern of an orchard in blossom. A popular pattern used for

decorating ceramic items using chizma technique, Table VII, 38.

Naqshi girdobi - whirlpool pattern, Table VIII, 26.

Naqshi guli tojikh'oroz - rooster comb, 89.

Naqshi kojkord - pattern of knife with bent tip. Used for decorating the bottoms of

dishes, Table XVII, 18.

Naqshi morob - pattern of algae. Used for decorating the bottoms of dishes, Table

XIII, 14.

Naqshi nova - pattern of concave ceiling lath. A border ornament, Table XXXVII, 8.

Naqshi obi - pattern of water (or humi obi - large earthenware pot with water).

Used for painting the bottoms of dishes, Table XV, 24.

Naqshi oftobi - sun pattern. Used for painting the bottoms of dishes, Table XL, 4.

Naqshi ponis - lantern pattern. An element of many ornamental compositions,

Table X, 9.

Naqshi sitora - star pattern. Made with a stamp, Table VIII, 11 .

Naqshi khashkosh - poppy pattern. An element located in a circle in the center of

a dish, Table XIV, 16.

Naqshi shamdon - pattern of candleholders,made with a stamp; Table VIII, 25.

232 M.Rakhimov

Naqshi yulduz - star pattern for painting the bottoms of vessels, Table XXII,

Naqshi g'ozanak - agrimony pattern for painting the bottoms of dishes, Table XXIX,

6.

Naqshi khalila - grape pattern. A border ornament, Table XII, 11.

Naqshi humoyun (naqshi humo) - pattern of humoyun (fabled bird). An element of

composition for decorating the bottoms of vessels, Table X, 8.

Naqshin -with a pattern, patterned, ornamented, 14, 16, 41, 92; Table II, 3; Table

III, 7.

Nilhum - large earthenware pot used for painting, 18, 23.

Nim khalka - half ring. A border ornament, Table XI, 7.

Nimbargak - women's jewelry. An element of composition for painting the bottoms

of dishes, Table XXIX, 11.

Nimkosa, nimdukki kosa- medium sized bowl, 14, 92, 99, 111.

Nim k'oza - small vessels, 15.

Nimtovoq - small dish (Shakhrisabz), 13.

Nimtogora - medium sized bowl, 16.

Nisholda kosa, nisholda piala - a bowl for nisholda sweets, 14.

Nova - ceiling detail, 107.

Nokbarg - pear tree leaf. This element varies in terms of illustration and purpose,

Table XI, 7.

Nokgul - pear pattern that is a component of ornamental compositions used for

decorating the bottoms of vessels, Table X, 3.

Nondon, non hurma -vessels for storing non (Uzbek round bread), 16, 24.

Nonsavat - bread-basket. This pattern is used for painting the bottoms of dishes,

Table XXVI, 13.

Norin tovoq - a medium-sized bowl for noryn (noodles with meat), 83.

Glossary 233

Nohot (Tadjik, nah'od) - a pea, small pea. The pattern has many versions, 94, 95;

Table VIII, 1; Table LVIII, 19.

Nohoti tumorcha - talisman with a pea. A border ornament, Table IX, 15.

Nohoti honagi - peas in cells. A border ornament, 88; Table XI, 8.

Nohoti chor guzar - four intersections with peas. A border ornament, Table LVIII,14.

Nohoti khalqa - a ring with peas. Aborder ornament, Table XIX, 11.

Nuhta - a bridle. A border ornament recorded in Khorezm, Table XLVIII, 3.

Oba - line, water, stream, edging, 76, 77; Table XIX, 5.

Obdasta, obdasta yumaloq - a pitcher for water with a spout and one handle, 1 6.

Obdasta movi - green-turquoise pitcher, 16, 85.

Obdasta sokhtagi - an ordinary jug, 16.

Obdasta tovuq - a pitcher hen, 24.

Obdasta filtalik - figurative formed jugs, 47, 85.

Obdasta p'orim - a figurative formed jug, 16.

Obdasta shutr b'oin - a camel's neck vessel, 85, 86.

Obdasta urdak - a duck-shaped pitcher, 24, 85.

Obdasta qarshigi - a water pitcher, Table VI, 3.

Obdasta gildirak - a pitcher in the form of a wheel, 16, 24, 85.

Obi rakhmat - spring rain, holy water. A border ornament, 77; Table IX, 10.

Oy ari zanjira - border of moon and bee, Table XXXIII, 7.

Oybarg - leaves and moon. Aborder ornament, Table XXXII, 11.

Oy islimi - islimi with moon. A border ornament, Table XXXII, 20.

Oy mehrob - niche with moon. An element of composition for painting the bottoms

of dishes, Table XXV, 12.

234 M.Rakhimov

Oyparchagul - pattern of fabric. A border ornament, Table XXXIII, 5.

Oytish - toothed moon. An element of many compositions, Table XLIII, 11.

Oycha - small moon. A border ornament, Table XVIII, 18.

Oyshapalak - moon and moth; a bat. A border ornament, Table XXXIII, 4.

Ola, ola-bula - many-colored, spotted, 77.

Olachipor - many-colored. A border ornament made of a number of patterns bor¬

rowed from drawings used in carving ganch (stucco) and wood, Table Lll, 8.

Olmabarg - an apple tree leaf. This is an element used in many painted composi¬

tions Table LIN, 1.

Olmagul - apple tree blossom. Used for painting the bottoms of dishes and the

main bodies of pitchers and vases. From the items produced by Usto Bobo-Nazar

(Kattakurgan, 19th a), 113; Table XXXIX, 5.

Oltin k'ongiz - golden insect A large decorative pattern for decorating the bottoms

of dishes seen in items produced by Usto Abdugafur (Gijduvan). The pattern used

by Usto Ashurmat (Rishtan, 20th c.) is less interesting, Table XVI, 9.

Olchagul - cherry tree blossom. Used for painting the bottoms of dishes and trunk

of vases by Usto T. Miraliev (Tashkent, early 20th c), Table XLV, 5.

Ot - a horse, 93.

Otash arava - a train, locomotive. A border ornament, Table XI, 17.

Otob nuskha - sun pattern, Table LV, 3.

Oftoba - a vessel for washing. Used for painting the bottoms of dishes, 16, 47, 49,

70, 90, 92, 95, 96, 123; Table XVIII, 24.

Oftoba sokhtagi - a jug of standard form, 85.

Oftoba urdak - a jug in the form of a duck, 129.

Oftoba qarshigi - oftoba (jug) from Karshi, 103.

Oftoba qolbagi - a jug made in a mould, 16.

Glossary 235

Oftoba qumgon - a vessel for ablution, used for decorating the bottoms of dishes,

Table XVIII, 16.

Oftoba k'ochqor - a jug in the form of a sheep, 129.

Oftoba gildirak qolbaki - a rounded jug with stamped decoration; a figurative form

of a jug made with a stamp, 85.

Oftoba h'oroz - a pitcher in the form of a rooster, 129.

Oftobi - sunny. A pattern for decorating the bottoms of dishes and sides of bowls,

as well as the main bodies oftall vessels, Table XVII, 4; Table XXIII, 13; Table LV, 3.

Oftobparast - sunflower. Used for painting the bottoms of dishes, Table XXIX, 1 .

Oshiq zanjira - pattern of small bones (pasterns), Table IX, 2.

Oshpichoq - a kitchen knife. Used for decorating the bottoms of items, Table XVIII,

4, 5; Table XXXIX, 9.

Okhr (or ishqorhona) - a place for firing potash, 67.

Ochk'ok rag - dark blue paint, 56.

Oqgul - white rose. Used for painting the bottoms of items. From the work of Usto

Turap Miraliev (Tashkent), Table XLVI, 5.

Oq loy - see chinni loy.

Okpaz - potters who produce items covered with white ishqor glaze; white baking,

82.

Oq sir - white glaze (enamel).

Oq sopol - white shard, 35.

Oq rang - white paint, 56.

Oq tosh - quartzite, 31 , 35, 58, 60, 61 , 62, 64.

Oq kum - white quartzite sand, 31, 56, 58, 60, 61, 62, 64.

Okhansop (or temir tupon) - iron filings, 56.

Okhor - paste made of flour, 52, 62, 65.

236 M.Rakhimov

O'rama gajak - spiral curl. Used to decorate the edges of dishes, bowls and trunks

of vases, Table Lll, 7.

O'ramapalak - spiral plant branch. Used to decorate the wide part of the trunks of

vases and bottoms of dishes, Table LIV, 10.

O'rama pargari - compass curl. Used to decorate the trunk of vases, Table LV, 5.

O'ranaqsh - drawing of column. Used to decorate the sides of the bodies and

necks of unglazed crockery, Table XVIII, 1.

O'rdak obdasta -jug in the form of a duck, 47.

O'rta lagan - medium sized dish (Tashkent), 13,108.

O'rta loy - medium soft clay, 44.

O'rta olov - medium fire, 72.

O'smagul - pattern of o'sma (scales). An element of many compositions, 1 1 3; Table

XLVII, 1; Table XLVIII, 23.

O'tkhona - a fire-box in the kiln, 66, 70.

O'q - a rod that comes through the lower disk of the pottery wheel, 38.

Pai urish - placing flat items in a pile, 50.

Palakgul - pattern of stem, a kind of embroidery. Used for decorating the bottoms

of dishes, Table XVII, 8; Table XXIII, 4, 14; Table LI, 3.

Palak nuskha, palak - pattern of palak. Used for decorating the bottoms of ves¬

sels, 105; Table LIV, 5, 7.

Panja - a hand, five fingers. An archaic ornament, it was used as a symbol of

protection, 77.

Panjagi bosma - five-pointed stamp. Used for decorating the bottoms and main

bodies of vessels, Table VIII, 17.

Panjagul - pattern of five fingers. An edging ornament, 104; Table XXIII, 16.

Panjaguli honagi - pattern of five fingers in cells. An edging ornament; Table XXXIII,

17.

Glossary 237

Panjara zanjira - lattice border. Used for decorating the wide sides of large dishes,

Table XLII, 7.

Panjara zulfak - tracery jewelry. Used for decorating the trunks of vases in Tashkent,

Table LIU, 13.

Panjara kungura - see ilon izi.

Pargar - compasses; a geometric ornament made mainly of circles, Table I, 24-25.

Pargari gul - pattern of compasses made by compasses. Used for decorating the

bottoms of dishes, 113; Table LIV, 8.

Parpashsha or patpashsha - fly wings

Table VIII, 6.

Parra - fly wings. A popular ornament that has many versions, 89, 98, 99; Table

XIX, 9, Table XXII, 7; Table XXVII, 23.

Parra zulfak - lower part of the potter's wheel, 38.

Parra kharroj - jewelry (round buckle), Table XXIX, 12.

Parragi bodom - scratched circle, propeller, Table XIX, 19.

Parragi pirpirak - almond propeller. Used for decorating the bottoms of dishes,

Table XXXV, 3.

Parragul - whirling circle. Used for decorating the bottoms of dishes, Table XXXIV,

6.

Parraguli bodom - propeller. Used for decorating the bottoms of dishes, Table

XXIII, 12; Table XXXV, 5.

Parrak bosma - a wheel, scratched pattern, Table VIII, 12.

Pat zanjira - border of painted feathers. A pattern for ornamental bands on the

sides and edges of bowls, Table XXVII, 25.

Patak zanjira - border of inner soles. A pattern for decorating the edges of dishes

made by chizma, Table XLI, 9.

Patnisgul - tray pattern. Used for decorating the bottoms of vessels, Table XXII, 5;

238 M.Rakhimov

Table XL, 9; Table LVI, 1.

Pakhta, pakhtagul - cotton. An element included in the general composition of

ornaments, 127, 130; Table XXIV, 8, 9; Table XLVI, 4; Table LI, 2, 4; Table Llll, 5.

Pakhta n'oragi - cotton and rays. A pattern for decorating the bases of items, Table

XXIX, 3.

Pechak ut, pechalak ut - bindweed, 113; Table IX, 7, 8; Table XXXVI, 1 0; Table Lll,

2.

Piala, piyela - a tea cup, 14, 92.

Piyela humdon - small kiln for baking cups, 66, 69.

Pilla - cocoons, 130.

Pillapocha - a ladder. A pattern for ornamental bands on the sides of items, Table

XXXVII, 1.

Pilong (or ilon izi) - snake track. Used to decorate the edges and necks of ves¬

sels, Table VII, 9.

Piltabarg - wick leaf. An element used for many compositions for painting items,

Table XLIV, 6.

Pirpirak - child's toy (vertushka) made of paper. Used to decorate the bottoms of

vessels, Table XVII, 5.

Pista - pistachio, 113.

Pistabarg - pistachio tree leaf. A painting element used in many compositions,

Table XLIV, 7.

Pistagul - blossom or pattern of pistachio. This pattern has many variations, Table

VIII, 4; Table XIII, 1; Table XIV, 6; Table XXXIV, 11.

Pir osh - entertainment to honour the patron of a handicraft, 28.

Pichoq - a knife. This pattern is a component of compositions that decorate the

bottoms of dishes, Table L, 3.

Pichoq kini - knife case. A component of compositions that decorate the bottoms

of dishes, Table XVIII, 14.

Glossary 239

Podchoii tovoq (pronounced potchaki tovok in some areas) - small sized festive

dish (Khorezm).

Pona - wedge, small board, 39, 71.

Ponsari k'ozacha - a vessel for sour milk (Shakhrisabz), 15.

Popishak - hoopoe bird. Used to paint the bottoms of vessels, 93, 130; Table LI, 8.

Poyagul -plant stem pattern. Used for ornamental bands on the sides of dishes of

different sizes, Table XLVII, 25.

Qabat-qabat - miser, uneven, 47.

Qaymoq kosa, qaymoq idish - a cup for cream, 14, 69; Table III, 2.

Qayrilmabarg - a clinched leaf. Used in many compositions, it is seen in the work

of Usto Turap Miraliev (Tashkent), Table XLIV, 4; Table Lll, 6.

Qayrilma kord - a clinched knife. Used to decorate the bottoms of dishes, Table

XVIII, 7.

Qaytarma gajak - kinked curl. Used to paint the bottoms of dishes. Seen in the

work of Usto Abdukarim Khazratkulov (Shakhrisabz), Table XXVIII, 2, 13.

Qalan, qalagi -tin, 60, 64, 82, 103.

Qalayli sir - tin glaze, 59, 64.

Qalam - brush, cutter, chisel, 58; Table I, 20, 23.

Qalami - brush painting, 53, 59, 83, 91 , 99, 1 02, 1 09, 1 1 0, 1 1 1 .

Qalami xarroj - metal tool, cutter. A pattern used by potters for painting the bot¬

toms of dishes in Samarkand, 40; Table XXXIV, 5.

Qalampir - red paprika. Used to decorate the bottoms of dishes. The item is pro¬

duced by Usto Djurakul Umarkulov (Samarkand), 113; Table XXXIII, 13.

Qalampirgul - pattern of paprika. This element is used to paint the bottoms of

dishes by Turakul Togarosoz (Samarkand), Bobo Niyazmat (Rishtan) and Tahpulat

Notmuxamedov (Tashkent). The pattern has many versions, Table X, 2; Table XXXV,

4; Table XLVII, 6.

240 M.Rakhimov

Qamchindasta - whip handle. A border ornament of Kadir-kuzagar (Samarkand);

104; Table XXXIII, 15.

Qanot zanjira - border of wings. A border ornament, Table VII, 34.

Qanotiboyqush - owl wings. A pattern for painting the sides of items, seen in the

works of Usto Ochaanar from Rishtan (19th c), Table XVI, 19.

Qanotikapalak - butterfly wings. An element of many compositions, Table XVI, 14;

Table XXVI, 2.

Qanotimurg'- bird's (hen's) wings.The pattern has many quite different versions,

Table VIM, 24; Table Lll, 5.

Qanotitovus - peacock wings. Used to decorate the bottoms and main body of

vessels. There can be quite different versions in one and the same area, Table XVI,

10, 13.

Qanotio'rdak - duck wings. Used to decorate the bottoms of vessels in many com¬

positions, Table XVI.11.

Qanoti qushi movi - wings of a blue bird. Used in Rishtan to paint the bottoms of

dishes, Table XVII, 20.

Qantdon - sugar bowl with four handles, 14, 92.

Qarg'atirnoq - raven talons. A border ornament, Table VII, 28.

Qarg'atish - raven's tooth. Used in Khorezm to decorate the bottoms of vessels

and the sides of bowls (19th a), Table XLIX, 1.

Qatiq ko'za, qatiq xurmacha - a vessel for sour milk, 15; Table VI, 2.

Qattiq loy - stiff clay substance, 44.

Qafas - cage. Used to decorate the bottoms of dishes in Tashkent, Table XLVII, 5.

Qafasi bedana - cage for quail. Used to paint the bottoms of items, Table XIII, 4.

Qashqargul - Kashgar pattern. Seen in the bottoms of items produced by Turdi -

usto (Kattakurgan), Table XL, 8.

Qashqarcha - Kashgari. A border ornament, 114; Table XLII, 9.

Glossary 241

Qiyok bargibuta - shoots of sedge. Used to decorate the bottoms of dishes and

bowls, Table XLI, 6.

Qiyok o't - sedge. The pattern has various versions. Used for many compositions,

113; Table XV, 13; Table XXXIX, 3; Table XLV, 9.

Qizil gul - red flower, 131.

Qizil rang - red-brown colour, 51.

Qizilg'ish or qizg'ish sir - red-brown glaze, 63.

Qizil kesak - red ferrous clay.

Qilagul - name of a plant (Aravia). A border ornament attributed to Usto Yusupdjan

kulol (early 20th c), Table XLVIII, 8.

Qirq bo'g'in - a kind of plant used by masters to produce glaze, 36, 61 .

Qirqoyoq - centipede, 97; Table XXVI, 5.

Qirqog'oyni - pattern of forty brothers. This element is used in many compositions

to paint ceramic items, Table XV, 10,11. I

Qovoqbarg - pumpkin leaf. This element is used in many compositions in different

versions, Table XI, 10; Table XLVI, 9.

Qovoqgul - pattern of pumpkin or pumpkin blossoms. Found in the work of Usto

Abduljamil (Rishtan), (19th a), Table XIII, 8.

Qovun - melon, Table XLI, 8.

Qovungul - melon pattern. This element is used in many compositions in the

items produced by masters in Tashkent, Table XLV, 11.

Qoziq - stakes, stake, rod, 41 , 69.

Qolip, qolip naqshin - stamps, forms; disks under the crockery on the wheel, 41,

47, 123; Table 1,7, 8, 11-13.

Qolip loy - specially mixed clay to form items in moulds, 47.

Qoravarak - plant whose cinders are used to produce potash, 61 .

242 M.Rakhimov

Qoramtir qizil rang - dark brown paint, 57.

Qoramtir ko'k rang - dark blue paint, 57.

Qora rang - black paint, 51, 56.

Qora sir - black glaze, 63.

Qora tutun voshim - fire with black smoke, 72.

Qora qizil rang - red-brown paint, 56.

Qoraqosh - black eyebrows. This element is used in many compositions to paint

the bottoms of vessels, Table XLIV, 14.

Qoshi gajagi terma - two curls among dots. Used to paint the bottoms of dishes,

Table XXXVI, 8.

Qoshgul - pattern of eyebrows. Used to paint the bottoms of dishes and bowls

Table XXXIX, 1.

Qubbabarg - relief leaf. This element is used in many compositions to paint the

bottoms and main bodies of vessels, Table XLIV, 12.

Qubbamadoxil - madokhil with small dome. Used to paint the sides of dishes and

necks of vases, Table Lll, 12.

Qubba naqsh - relief pattern, 50.

Qubba choydish - a copper vessel with relief cover plates; used to paint the bot¬

toms of items, Table XVIII, 26.

Quvur - drainpipes, 18.

Quloba - a vessel for liquids with one handle, 15.

Qulqulcha, quloba -a pitcher with a narrow neck and one handle, 15; Table VI, 1.

Quloq loy - the clay mass for making handles, 45.

Qumg'on - a copper or cast-iron vessel for water; used to decorate the bottoms of

dishes, 85; Table XVIII, 21.

Qumg'on choydish,kungira choydish - a vessel to boil water or tea. Used to

Glossary 243

decorate the bottoms of dishes, Table XVIII, 20, 28.

Qumg'oncha choydish - a small copper vessel for boiling water or making tea.

Used to decorate the bottoms of dishes, Table XVIII, 22.

Quritish - drying, 50, 72.

Quroq, quroqcha - scrappy applique' work (this pattern is also called sim tortar -

elongated wire). A border ornament, 112; Table XLI, 7.

Quroqbarg - pattern of applique' work. An element of many compositions, Table

XLIV, 10.

Qushnaqsh - pattern of birds, 89.

Qushqanot - wings of bird, Table XI, 14.

Qo'ziqorin - small mushrooms. Used to decorate the bottoms of dishes and bowls,

Table XXXIX, 2.

Qo'ltiq tumor -jewelry. Used to paint the bottoms of dishes. The ¡tem is produced

by Usto Masidkhodja ¡shan (Tashkent), Table XLIII, 5.

Qo'ng'iz - small bug. A border ornament, Table XXI, 7.

Qo'ng'ir sariq - brown ferrous oxide, rust, 72.

Qo'rbarg - strip, leaf. A border ornament, Table XX, 16.

Qo'ri sambusagi - band (fascia) of pies. A border ornament, Table XIX, 18.

Qo'ri chorxona - band of small squares. A border ornament, Table XIX, 17.

Qo'rg 'oshinlik qalay - calcine.

Qo'rg'oshin, qo'rq'oshin sir - lead glaze, 55, 60, 82.

Qo'chqaroq - sheep, sheep's horns. This element is used in many compositions to

paint dishes and has many versions, Table XVI, 1-5; Table XXIV, 6; Table XXXV, 14.

Quchg'arog' zanjira - border of sheep's horns. A border ornament, it is found in

the works of Usto Abdusadik Xodji (Rishtan, 19th c.) and of Kattakurgan potters (in

a quite different version), Table XII, 7; Table XXXVII,

244 M.Rakhimov

Qo'chq'or - ram; quchqor-hushtak - a toy in the form of sheep, 93.

Qo'chq'orshox - sheep horns. This pattern is used by masters in Khorezm to paint

the bottoms of dishes, Table L,14.

Qo'chqor xushtak - a whistle or toy in the form of a horned sheep, 75.

Qo'shbarg - double leaf, paired leaves. This element is used in many composi¬

tions to paint the bottoms of dishes, Table XXXII, 22; XXXVIII, 2; Table LIV, 6.

Qo'shbargi bodomi shijor - a pair of almond leaves. Frequently used to paint the

bottoms of dishes, Table XVI, 8.

Qo'shbargi noxot - a pair of leaves with peas. A border ornament, Table XXI, 21 .

Qo'shbodom - a pair of almond kernels. A border ornament, Table XXXIII, 1

Qo'shbodombarg - a pair of almond leaves. This element is frequently used to

paint the bottoms of dishes, Table XLIV, 9.

Qo'shbodomcha taroq' - double almond with combs. A border ornament, Table

XXXIII, 14.

Qo'shgajaki bodom - paired almonds with curls. A border ornament, Table XXXIII,11.

Qo'sh gajakgul - pattern of paired curls. A border ornament, Table XLII, 4.

Qo'sh gajaki panjara - lattice of paired curls. A border ornament, Table XXXVIII,7.

Qo'shgajaki terma - paired curls with dots, Table XXXVI, 8.

Qo'sh garimdori - a pair of red paprikas. A new pattern used to decorate the

bottoms of dishes and main body of vases (Tashkent), Table LIV, 3.

Qo'shzulfak - double zulfak (decoration), Table XXXVI, 5.

Qo'sh ilon izi - two snake tracks. A border ornament, Table VII, 8.

Qo'shkoz' - a pair of eyes. This pattern is used to decorate the necks of vases and

pitchers, Table Llll, 7.

Qo'sh madoxilbarg - a pair of madokhil leaves. This element of many composi-

Glossary 245

tions is used to paint the bottoms of dishes and the main body of vases and pitch¬

ers, Table XLV, 15.

Qo'shmorak - a pair of snakes. A border ornament, 1 01 ; Table XXVII, 3.

Qo'shnayza madoxil - a pair of pointed madokhil. This element is used in many

compositions to paint the sides and bottoms of items, Table XLV, 17.

Qo'shtanob - paired lines, 104.

Qo'shtirnoq - pair of claws. A border ornament, Table VII, 31 ; Table XXVII,.

Qo'shxat - paired lines, 54; Table VII, 2.

Qo'shshoxlik zanjira - border of paired horns. Used to decorate the necks of

vases, Table Llll, 15.

Qo'shqanot - a pair of wings. A border ornament, Table XXII, 11; Table XXXVIII,

11.

Qo'shquloq, qo'shquloqcha - small and large earthenware pot with two handles.

Used for storing grain and oil, 16, 18, 70, 92; Table V, 1.

Qo'qongul - aster. Kokand pattern, used to decorate the bottoms of dishes, Table

XXII, 14; Table XXXIV, 7.

Ravoqzanjira - border of semi-circular arches. A pattern for ornamental bands on

the sides of items; Table XXXIII, 2.

Rayhongul - basil pattern. Used for decorating the edges of bowls, Table XLVIII,

22.

Raf - wooden racks for drying crockery, 50, 66.

Risola - potters' workshop charter.

Rishtai pisorig' - roots of the pisorig plant. An element of many compositions,

Table XIV, 14.

Rosti chertak - regular chertak. Border ornament, Table XX, 10.

Rokhi zanjira - pattern of tracks. Used to decorate the sides and trunks of vessels,

Table VII, 22.

246 M.Rakhimov

Rubob - musical instrument. Used to decorate the sides and bottoms of dishes,

Table XLIV, 16.

Savri -April, May, spring, 92.

Savsar qalam - soft brush for painting, 40, 58.

Sambitbarg - a pussy-willow leaf. Used to decorate the bottoms of dishes, TableXLVI, 7.

Sambusagi chertak - a plant in the form of a triangular pie, Table XX, 8.

Sapsargul - iris. Used to paint the bottoms of dishes, Table XXXV, 2.

Sari buirak, sari tirnoq - names of plants whose cinders are used to prepare

potash, 61.

Sari mor - snake heads. This pattern is used to paint the bottoms of vessels, Table

XVIII, 10.

Sariqgul - yellow flower. An element used for many compositions, Table XXXVI, 9;Table XLV, 8.

Sariqpaz - potters who use lead glaze, 24.

Sariq rang, sariq b'oyeq - yellow paint, 56, 57.

Sariq sir - yellow glaze, 63.

Sarkalla - small size bowl used for milk products (Shakhrisabz), 14.

Sarna, sarnak - round or cylindrical clay disks used for stacking items in the kiln,

41,70.

Sarpatai jingalak - inner soles with curls. A pattern for painting the bottoms ofvessels, Table XXIX, 2.

Sarp'osh - clay lid to cover the loading opening of the baking kiln of the kosagar

humdon type, 36, 68, 71.

Sartakhta - upper disk of potter's wheel, 38, 46.

Sarqumgon - copper vessel for tea. A pattern for decorating the bottoms of ves¬sels, Table XVIII, 19.

Sebarg - three leaves. Used to paint the bottoms of dishes, Table XXX, 2.

Glossary 247

Sebi khoshiya - apple border. Used by Usto Abdullo (Rishtan), Table XI, 11.

Sebodom - three almonds. Used to decorate the bottoms and sides of dishes,Table XXVIII, 6.

Segul - three flowers, 101 ; Table XXX, 6.

Se ilon izi - three snake tracks, 76; Table VII, 7.

Se kungura - triple zigzag line. This pattern is used to decorate the edges andtrunks of unglazed vessels through the kharroj technique, 104.

Semorgula - three curls (or three snake heads). Used to paint the bottoms ofitems, Table XXVI, 14.

Sepoya - clay tripods, supports, 41 , 70.

Sershirali loy - mass made of plastic pottery clay and j'osha, 43.

Sesara madokhil - three head madokhil. Used to decorate the sides and edges ofdishes, Table Lll, 13.

Setanob - three lines, 104.

Setagi k'oza - a vessel with one handle, 15.

Sekhat - three lines, Table VII, 3.

Se chashmi madokhil - madokhil with three eyes, Table XXIV, 12.

Se egri hat - three zigzag lines. The simplest border ornament, Table VII, 1

Siyekhdon - an inkpot, 83.

Siyka u'ol - slippery road. Used to decorate dishes and vases, Table Lll, 1.

Sim - a thin wire used remove crockery from the potter's wheel, 40; Table I,

Sim tortar - something made of wire, Table XLI, 7.

Sir - glaze, 39, 59.

Siriosmoni - blue glaze, 64.

Sitoragul - a star. Used to paint the bottoms of dishes, Table XXXV, 6.

Shabaki - nocturnal, the night sky. Used to decorate the bottoms of dishes, TableXVII, 9.

248 M.Rakhimov

Shamdon - a candleholder. Used to decorate the bottoms of dishes, 16; Table

XLIII, 8.

Shamdon khashtagi - a candleholder for eight candles, 16; Table XVII, 2.

Shamshirlab tovoq - medium-sized dish, 92.

Shapalak zanjira - border of butterflies. Used for ornamental bands on the sides of

items and the main body of decorated pitchers, Table XXXIII, 21.

Shapalak qanot - wings of the night butterfly or wings of the bat. Used to paint the

bottoms of dishes, Table XXIII, 1.

Sharbat kosa, sharbat idish - a cup for juice, 14, 92.

Shaxmatgul - chess pattern. A composition used to decorate the bottoms of dishes

in Khorezm, Table L, 10.

Sherbachcha - lion cub, 93.

Shivalak - a whistle (Khorezm), 16.

Shilta - ordinary liquid clay, 50.

Shinni kosa - shinni k'za, shinni k'ozacha - a vessel for grape syrup, 14, 92.

Shiralik loy or zo'r loy, yog' lik - greasy plastic clay, 32.

Shirasiz loy - poor clay, 32.

Shisha - glass, 64.

Shogird - a student, 20.

Shokosa, shokosa duboyak - medium-sized bowl, 14, 27, 66, 69, 83, 92, 99.

Sholcha - woolen or cotton carpet, 44.

Sholchagul - carpet pattern, 131.

Shonabarg - trefoil. Used to paint the edges and bottoms of dishes, and also the

main body of decorated pitchers, Table XXXII, 17.

Shona chashmi bulbul - nightingale's eyes and combs. A border ornament, 104;

Table XXXIII, 18.

Glossary 249

Shoftolibarg - peach tree leaf. Used to paint the bottoms of dishes and trunks of

vases and pitchers, Table XLVI, 11 .

Shoftoligul - peach blossom, 119.

Shokhgul - pattern of branches. Used to decorate the sides and bottoms of flat

dishes, and also to decorate the bottoms and edges of bodiya, Table XLVIII, 15.

Shokhi gov - bull's horns. Used for the bottoms of dishes, Table XVII, 17.

Shokhlik bofta - rosette with short branches.Used to decorate the bottoms of dishes

and main body of vases, Table LV, 4.

Shokhlik madokhil - madokhil with horns. Used to paint the bottoms of dishes,

Table XLV, 18.

Shokhchagul - pattern of shoots. This element is used in many compositions to

decorate the bottoms of items, 131 ; Table XLIX, 6.

Shobarg - master leaf. This element is used in many compositions., in many ver¬

sions, Table XXIV, 7; Table XLIV, 3.

Shobargi termoq - master leaf. This element is used in many compositions for

painting items, Table XXXIX, 7.

Soat gul - clock pattern. Used to paint the bottoms of dishes, Table XXXIV, 19.

Sodda, soddagul - simple, 76; Table XV, 9.

Sodda madokhil - simple madokhil. Elements of painting used for many composi¬

tions, Table Llll, 3.

Soldat - soldiers. Used to decorate the sides of dishes of different sizes, Table

XLVIII, 5; Table LI, 1; Table Llll, 14.

Sopol - made of clay, 16.

Sopol idish, sopol piyela - a clay vessel, 14, 50.

Sopol khushtak - clay whistles (in some areas they are called sopoli khushpalak),

16,47.

Sog (sogiz) tuproq - loess (ordinary clean clay), 31 , 32, 43.

Suv - water, stream, line. The simplest border ornament, 76, 77; Table VII, 1

250 M.Rakhimov

Suv idish - glass water-bottle, 16.

Suv kosa - a small cup for water (for birds' cages), 14.

Suzma k'oza - a bowl for cottage cheese, 15.

Sunbula - hyacinth. Used for ornamental bands on the sides of dishes and bowls,

Table XXVII, 6.

Surnay - trumpet, horn, flute, 18.

Sut tovoq, sut togoracha - a bowl for milk, 14.

Suyuq loy, shilta - liquid ordinary clay, 47.

Tagarapaz - a master who makes tagara (a traditional vessel)

Tagi siyekh - painting on dark-brown engobe, 52, 83, 84, 94.

Tagi surkh - red-brown background, 94.

Tagi qalam - a brush for painting the background, 41 ; Table I, 17.

Tagi qora - black background, black background under white engobe, 51.

Tagi khoshiya - key border, Table VII, 26.

Tanga - a coin. Used to decorate the bottoms of dishes and bodiya, Table XLIX, 1 9.

Tandir (tanur in some areas) - oven for baking bread, 18, 24, 93.

Tanob - straight line, 104.

Tarang - ceramic shards, 71 .

Tarash - finishing the reverse side of the bottom.

Tarkash - large bowl, 14; Table III, 8.

Taroq (daroq in some areas), taroqcha - a comb, the tool in the form of comb.Used to decorate the bottoms and edges of dishes and bodiya, 40, 54, 76, 88, 91 ;

Table XLVIII, 17.

Taroqgul - pattern of combs. Used to decorate the bottoms of dishes, 40; TableXLIII, 10; Table LVIII, 2.

Taroqzanjira - border of combs. Used for ornamental bands on the sides of dishesand edges of bowls on the reverse sides, Table XXXVIII, 10.

Glossary 251

Taroqi sang - stone comb. A border ornament, Table XII, 4.

Taroqi khattoj - scratched comb. A border ornament, Table XIX, 12.

Takhti Sulaymon - Sulaymon's throne (also called shokhbarg - master leaf). Usedto decorate the bottoms of dishes, Table XXIV, 7.

Ta'ziya tovoq - small sized dish (used for commemoration) (Kattakurgan),

Temir t'opon - iron filings, 63.

Terak utin - poplar wood, 71 .

Terma gajak - curl with spots. This painting element is used for many composi¬tions; Table XXIX, 10.

Termagul - a small bunch. Used to decorate the bottoms of dishes, Table XL, 6.

Terma zulfak - a type of broach. Used to decorate the bottoms of dishes, Table

XXIX, 14.

Terma zulfaki sodda - simple jewelry. This element is used for many compositions

painted on the bottoms of dishes, Table XXXVI, 3.

Terma madokhili zulfak - madokhili with spots (see madokhili). This element is

used for many compositions painted on the bottoms of dishes, Table XXXVI, 2.

Terma parra - compound propellor. Used to paint the bottoms of dishes, TableXXIV, 3.

Tikanak - thorn. A border ornament, 83; Table IX, 13.

Tilsim gul - secret flower, 113.

Tirnoq zanjira - A border of claws, used for ornamental bands on the sides of

dishes, Table XXXVII, 12.

Tish - teeth. A border element, Table VII, 25.

Tova - frying pan, a lid for covering the upper opening in the kosagar humdon kiln,68.

Tovoncha - a special tool with a straight handle made from one piece of wood, 46.

Tovonchagul - pattern of tovoncha. This element is used for many compositions,Table XL, 2.

252 M.Rakhimov

Tovoq, tovoqcha - a bowl or soup cup (pronounced tabok), 13, 27, 70, 73, 92, 98;

Tovoq loy - clay that is prepared to form dishes, 43.

Tovoqi kalon - large dish (Rishtan, Samarkand), 13, 69.

Tovoqi labgardon, tovoqi labgardoncha - small sized dish (Gijduvan), 13.

Tovoqi langari - medium-sized dish, 92; Table II, 2.

Tovoqi oshh'ori - medium-sized dish (Shakhrisabz), 13.

Tovoqi palov h'ori - large dish for plov (Gijduvan), 13.

Tovoqi safid - white medium-sized dish, (Gijduvan), 13.

Tovoq humdon - a kiln for baking flat ceramic items, 66.

Tovoqi shamshirlab - a dish with sloping sides.

Tovoqi karshigi - a ceramic dish from Karshi, 103.

Tovusgul - peacock pattern, 89.

Tovuq - hen, bird, 93.

Toza alanga - oxidizing (clean) fire, 71, 72.

Tolbarg - a tal leaf. Some potters call it bargi hazon, meaning a dried leaf. This

pattern has many versions, Table VIII, 16; Table XXI, 20; Table XXXII, 4; Table Llll,11.

Toi utin - willow wood, 71 .

Tokcha - the rack or firebox of the kiln, 67.

Toptar - stretch, 112.

Togora (dogora), togoracha - flat bowl, basin, 16, 70, 73, 92, 116.

Togoracha tovoq - medium-sized dish (Kattakurgan), 13.

Togoracha qolip - a baked clay disk, a support for large cups while forming,

Tuvakgul - a flower pot. A pattern for painting the bottoms of dishes, Table XXXVI,16.

Tuzdon - a vessel for salt, 16, 24.

Glossary 253

Tuyegi gusfand - pattern of sheep tracks, Table XVII, 14.

Tuinok - a ventilation opening, 50.

Tulum togora - a bowl for washing rice, 16.

Tumor zanjira - chain of talismans. A border ornament, Table XIX, 21 .

Tumor iyul - road of talismans or egri-hut, a curve, Table VII, 10.

Tumori rokh - road of talismans, Table VII, 29.

Tumorcha - small talisman. A pattern for ornamental bands on the sides of dishes

and edges of bowls, Table XIX, 6; Table XXXVII, 2.

Tumorchagul - pattern of small talismans. Used to paint the bottoms of dishes,Table L, 2.

Tumorcha zanjira - border of talismans, Table VII, 24, 35.

Tumorcha kungura - talisman with teeth. A pattern for decorating the edges andcenters of glazed and unglazed items, 104.

Tumorcha honagi - talisman in cells. A border ornament, Table XI, 16.

Tumorcha k'ochkapok - talisman with sheep horns. A pattern for decorating thesides and trunks of figured jugs, Table XXXII, 92.

Tuppa - a wooden tool for smoothing the sides of vessels, 40; Table I, 16.

Tutunlik alanga - dying fire (with smoke), 71 .

Tuggul - a tip of a flag. An element of painting used in many compositions, TableXXXIV, 4.

Tug'barg - a leaf at the end of a flagpole. Used in many compositions, Table XIV, 3.

T'ozgok - reed fluff, 31, 36, 43, 50.

T'oi lagan - t'oi tovoq (podchai) - a festive dish (Tashkent), 13.

T'opi bodom - almond-tree leaf. Used in many compositions.Table XLV.7.

T'ominchoq, t'opmunchoq - a handful of beads. Used to paint the bottoms ofitems, Table XVII, 6.

T'osargul - iris flower. Used to paint the bottoms of dishes, Table XXIX, 5; Table Lll,14.

254 M.Rakhimov

T'opetti - an apple on the ground. An element used in many compositions for

painting the bottoms of dishes, 101; Table XXX, 8.

Tort yaproq (durt yaprok in some areas) - four leaves. A pattern used to decorate

the bottoms of dishes and bodiya, Table XLVX, 8.

T'ort kulokli hum - a large earthenware pot with four handles (literally, ears), 18,116.

T'oti- parrot, 130.

T'ok sarik - dark-yellow paint, 56, 57.Table XLV, 7.

Uzumgul - pattern of grapes, 127, 130.

Usto - master artisan, ustozoda - master from a potter's family (hereditary mas¬

ter), 24.

Uchtalik - three-dimensional, 16.

Uchtortar - to execute something in three movements. A pattern used to decorate

the sides of dishes with the chizma technique, Table XLI, 3.

Yalpizgul, yalpizgul - mint. A pattern for decorating the bottoms of dishes andbowls. There are many versions; Table XVII, 3; Table XXXIX, 10.

Yalpiz naksh - pattern of mint, used for decorating the bottoms of dishes andbodiyas, Table XLI, 13.

Yakpoya - one-legged (toy), 93.

Yaksara morg'ula - one-sided curl, Table XX, 20.

Yaktarafa zanjira - one-sided border, Table IX, 3.

Yaktarafa shox - one-sided branch. A border ornament, Table Lll, 3.

Yaku nim boyak tovoq - flat dish 28-30 cm in diameter (Samarkand). 13, 1

Yalpiz, yelpiz - mint.

Yantoq - a thorn, 92.

Yaproq - leaves. Used to decorate the sides of dishes and bodiya, Table XLVIII, 1 6

Yaproqgul - leaf pattern. This element is used in many compositions, Table XLIX,

Yashil daraxt - green tree. Used to decorate the bottoms of dishes and bodiya.

Glossary 255

Yem - large earthenware pot of original form, 16.

Yemcha - large earthenware pot for dough or colors, 18, 92.

Yengok - nut pattern. An element of many compositions, Table XXX, 4.

Yergichok - millstone for grinding solid materials and glazes. In Kattakurgan this

pattern is also called morsang - snake stone). Found in Kattakurgan and Gijduvan;35, 38, 45, 65, Table XXII, 4; Table XL, 13.

Yeg k'oza, yeg idish - vessel for oil, 15.

Yeglik - greasy, 32.

Yulduz-star, 129.

Yulduzbosma - stamp in the form of a star, Table VIII, 13-15, 22.

Yulduzgul - star pattern. Used to paint the bottoms of dishes and bodiya, 130;Table XLIX, 16.

Yulduzqolip - stamp in the form of star, Table VIII, 13-15.

Yumaloq - a round bowl, 14, 83; Table III, 6.

Yumshoq loy - soft clay substance, 44.

Yung -wool, 31, 36.

Zanjira - chain, border, narrow edging, 77.

Zanjirai bodring - cucumber border. Used in Rishtan for painting sides of items,Table XII, 12.

Zanjirai vov - border of the Arab letter vov. There are several versions of the pat¬tern that have the same name, Table IX, 16; Table XI, 13.

Zanjirai islimi olkh'ori - islimi border of plums. In Rishtan this pattern is attributedto Usto Nurmukhamed, Table XII, 19.

Zaytungul - name of a plant (from India). Used for decorating the bottoms of dishes,Table XLIX, 2.

Zanjirai islimi chor yaproq - islimi border of four small leaves. Attributed to Usto

Mirsali(19thc), Table XII, 18.

amJAPAN

UNESCO/Japan Funds-in-Trust project"Blue of Samarkand" Inventory and Revivalof the Traditional Ceramics of Uzbekistan.